
Class. 
Book.. 



Copyright №_ 



CQFXRIGHT DEPOSm 



THE LIVING CORPSE 



THE LIVING CORPSE 

A Drama in Six Acts and Twelve Tableaux 
By 

LEO N. TOLSTOI 

Translated from the Russian 



By Anna Monossowitch Evarts 
(Mrs. E. M. Evarts) 



NICHOLAS L. BROWN 
NEW YORK 1919 



1 



Copyright 1911 
By Brown Brothers 



Copyright 1919 
By Nicholas L. Brown 



MAY -5 191 

©GI.D 51731 



TRANSLATOR'S NOTE 

The drama "The Living Corpse" (Zhivoi Trup), 
was written in the year 1900, at Moscow, at Pirogov 
(the estate of Sergey Nikolaevich, Tolstoi's brother) 
and at Yashaya Polyana (Tolstoi's own estate.) 

The following translation is made from the only 
authorized Russian edition based on the manu- 
scripts in the possession of the late Count Tolstoi's 
daughter, A. L. Tolstaya. 

Washington, D. C. 



CHARACTERS 

Feodor Vasilyevich Protasov (Fedya). 
Elizaveta Andreevna Protasov a, his wife {Liza) . 
Misha, their son. 
Anna Pavlovna, Liza's mother. 
Victor Michailovich Karenin. 
Sash a, a young girl, Liza's sister. 
Anna Dmitrievna Karenina. 
Prince Sergey Dmitrievich Abrezkov. 
Masha, a young gipsy-girl. 
Ivan Makarovich, on old gipsy. I 
Nastasya Ivanovna, > Masha's parents. 

an old gipsy-woman. ) 
An Officer. 
A Composer, 
First Gipsy. 
Second Gipsy. 
A Gipsy-girl. 

Gipsies — men and women. (The chorus.) 
A Doctor. 
Michail Aleksandrovich Afremov. 



Stachov. 1 

Butkevich. LFedya's friends. 

Korotkov. J 

Ivan Petrovich Aleksandrov. 

Voznesensky, Karenin's secretary. 

Petushkov, an artist. 

Artemyev. 

Two Waiters. 

An Innkeeper. 

A Policeman. 

The Prosecuting Attorney. 

Meljnikov. 

A Clerk. 

A Young Lawyer. 

The Sergeant-at-arms. 

Petrushin, a lawyer. 

A Lady. 

An Officer. 

A Court Attendant. 

The Nurse at Protasov's. 

Maid. 

Afremov's Lackey. 

Lackey at the Karenin's. 



THE LIVING CORPSE 



The Living Corpse 



ACT I. 
TABLEAU I. 

The action takes place at St. Petersburg, at the 
home of Protasov. The scene represents a small 
dining-room. 



SCENE I. 

Anna Pavlovna; a plump, gray-haired lady, 
tightly-laced, is sitting alone at the tea-table. 



SCENE II. 

Anna Pavlovna; the nurse {enters with a tea- 
pot.) 

Nurse: May I have a little water? 

Anna Pavlovna: Yes. How is little Misha? 

Nurse: Restless, as might be expected. Nothing 
is worse than to have madame herself nurse the 
child. She has her troubles, you see, and the child 
suffers. What can the milk be like if the mother 
spends all night crying? 

Anna Pavlovna : It seems she has quieted down 



14 THE LIVING CORPSE. 

Nurse: Quieted down indeed! It makes one 
sick to look at her ! She was writing something and 
crying all along. 



SCENE Ш. 

Anna Pavlovna, nurse; and Sasha {enters). 
Sasha: (to the nurse) Liza is looking for you. 
Nurse: I'm going, I'm going. (Nurse goes out.) 



SCENE IV. 

Anna Pavlovna and Sasha. 

Anna Pavlovna: The nurse says she does not 
cease to cry. Can't she try and compose herself ! 

Sasha: You astonish me, mamma ! She has left 
her husband, the father of her child, and you ex- 
pect her to be composed. 

Anna Pavlovna: Not exactly composed. What's 
done is done. If I, her mother, not only consented 
to my daughter's leaving her husband, but was glad 
of it, it means that he deserves it. We should be 
glad, not sorry, that we have rid ourselves of such a 
horrid person, — such a jewel! 

Sasha: Mamma, why do you speak like this? 
You know it isn't true. He is not horrid ; on the 
contrary, he is a remarkable, a very remarkable man, 
in spite of his weaknesses. 

Anna Pavlovna: Precisely, — a remarkable man. 
As soon as he has any money in his hands — whether 
his own or that of other people — 

Sasha: Mamma, he never took other people's 
money. 

Anna Pavlovna: Well, his wife's then. 



THE LIVING CORPSE. 15 

Sasha: But he gave his entire fortune to his 
wife. 

Anna Pavlovna: Why shouldn't he give it to 
her, knowing well enough that he will squander it 
all before long, in any event. 

Sasha: Whether he will squander it or not, I 
only know that a woman should not separate from, 
her husband, and especially from one like Fedya. 

Anna Pavlovna: According to you she should 
have waited till he had squandered everything, and 
had brought his gipsy mistresses to the house. 

Sasha: He has no mistresses. 

Anna Pavlovna: That's just where the trouble 
lies, — he has somehow bewitched you all. But not 
me, no indeed ! I see through him, and he knows it. 
W r ere I in Liza's place, I would not have waited 
till now to throw him over; I'd have done it a year 
ago. 

Sasha: How lightly you say all this. 

Anna Pavlovna: Oh, no! it's not easy for me, 
a mother, to see my daughter separated from her 
husband. Believe me, it is most painful. But just 
the same it's better than ruining her young life. I 
thank the Lord that she has made up her mind at 
last, and that it's all over. 

Sasha : Perhaps it isn't. 

Anna Pavlovna: Oh, if he would only give 
her a divorce ! 

Sasha : What good would that do ? 

Anna Pavlovna : Bear in mind that she is young, 
and may yet be happy. 

Sasha : Oh, mamma ! what terrible things you 
do say ! Liza cannot learn to love another. 

Anna Pavlovna: Why not, if she were free? 
There are men a thousand times better than your 



16 THE LIVING CORPSE. 

Fedya, and they would be only too happy to marry 
her. 

Sasha : Mamma, you do wrong to talk that way. 
Of course, you are thinking of Victor Karenin; I 
know it. 

Anna Pavlovna : And why shouldn't I think of 
him ? He has loved her for ten years, and she loves 
him in return. 

Sasha: Loves him, but not as a husband. It's 
merely their friendship from childhood. 

Anna Pavlovna: We know those friendships! 
Let only nothing stand in the way ! 



SCENE V. 

Anna Pavlovna and Sasha; maid enters. 

Anna Pavlovna : Well ? 

Maid: Madame sent the janitor with a note to 
Victor Michailovich. 

Anna Pavlovna: What madame? 

Maid: Elizaveta Andreevna, the madame. 

Anna Pavlovna: Well, what of it? 

Maid: Victor Michailovich sent word that he 
would soon be over. 

Anna Pavlovna: (surprised) We were just talk- 
ing of him. Only I don't see why she sent for him. 
(To Sasha.) Perhaps you know? 

Sasha : Perhaps I do, and perhaps I don't. 

Anna Pavlovna: Always secrets — 

Sasha: Liza will be here soon. She will tell you. 

Anna Pavlovna: (Shaking her head; to the 
maid) The samovar needs to be warmed up. Take 
it, Dunyasha. (maid takes the samovar, and goes 
out.) 



THE LIVING CORPSE. 17 

SCENE VI. 

Anna Pavlovna and Sasha. 

Anna Pavlovna: (to Sasha, who has risen to 
go) It happened just as I foretold. She sent for 
him right away, of course. 

Sasha: Perhaps she sent for him for an alto- 
gether different reason. 

Anna Pavlovna: Well, why then? 

Sasha: At this moment Karenin means no more 
to her than the nurse Trifonovna. 

Anna Pavlovna : Very well, you'll see. I know 
her, let me tell you. She sent for him to console 
her. 

Sasha: Oh, mamma, how little you know her 
if you can think — 

Anna Pavlovna: You'll see, all right. I'm 
glad, very glad. 

Sasha: We'll see. (turns and goes out.) 



SCENE VII. 

Anna Pavlovna alone. 

Anna Pavlovna: (shakes her head and mut- 
ters) All right, let her. All right, let her. Well— 



SCENE VIII. 

Anna Pavlovna and maid (enters.) 
Маш: Victor Michailovich is here. 
Anna Pavlovna : Very well. Show him in, and 
tell madame. (maid goes out.) 



18 THE LIVING CORPSE. 

SCENE IX. 

Anna Pavlovna and Victor Karenin. 

Victor Karenin : {enters, shakes hands with 
Anna Pavlovna) Elizaveta Andreevna sent me a 
note that I should come over. I was going to come 
to-night anyhow, so I'm very glad. — Is Elizaveta 
Andreevna well ? 

Anna Pavlovna: Yes, but the baby is a little 
restless. She'll be here soon, (sadly) Yes, yes, 
hard times ; you know everything, don't you ? 

Victor Karenin : Yes. I was here, you know, 
the other day, when the letter from him came. But 
is it really definitely decided? 

Anna Pavlovna: I should say so! Why, of 
course ! To go through all this once more would be 
terrible. 

Victor Karenin: Yes, this is truly a case of 
"measure ten times before cutting once." And to 
cut into the living is very hard. 

Anna Pavlovna: Naturally, ir's hard. But, to 
be sure, their union was cut into long ago, so that 
to break it was not as hard as it seems. He under- 
stands very well that after all that has happened 
he dare not come back. 

Victor Karenin : Why so? 

Anna Pavlovna : How can you expect otherwise 
after all this nastiness, after he had sworn that it 
would not happen again, and that if it should, he 
would renounce his rights as a husband and give 
her full freedom? 

Victor Karenin : Yes, but what freedom is there 
for a woman bound in wedlock ? 

Anna Pavlovna : Divorce ! He promised to di- 
vorce her and we will insist upon it. 



THE LIVING CORPSE. 19 

Victor Karenin: But Elizaveta Andreevna 
loved him so much — 

Anna Pavlovna: Her love was subjected to 
such abuse that there is hardly a shred left of it. 
She had to put up with drunkenness, deceit, un- 
faithfulness. Could anyone possibly love such a 
husband ? 

Victor Karenin : For love's sake one can do 
anything. 

Anna Pavlovna: You talk of love, but how can 
anyone love such a rag, who cannot be depended 
upon in any way? What do you think took place 
only lately? — (looks around at the door and speaks 
hurriedly) Their affairs had gone to pieces, every- 
thing had to be mortgaged, and there was nothing 
to pay with. Finally an uncle comes to the rescue 
with two thousand to pay off the interest. He takes 
this money and drops out of sight. As for the wife, 
she stays at home with a sick child, waiting, when 
at last a note comes from him — asking her to send 
him his linen and things ! 

Victor Karenin: Yes, yes, I know. 



SCENE X. 

Anna Pavlovna, Karenin. Enter Lisa and Sasha. 

Anna Pavlovna : You see, Victor Michailovich 
has come as you requested. 

Victor Karenin : Yes, I was detained a bit. 
(shakes hands with the sisters.) 

Liza: Thanks. I have a great favor to ask of 
you. And I have no one to turn to but you. 

Victor Karenin : I'll do everything I can. 

Liza : You know everything, of course — 



20 THE LIVING CORPSE. 

Victor Karenin : Yes, I know. 
Anna Paveovna: I'll leave you. (to Sasha) 
Come along, let's leave them alone. 



SCENE XI. 

Liza and Karenin. 

Liza: Yes, he wrote me a letter that he con- 
sidered it all ended. I (restraining tears) felt so 
offended, so — well, in a word, I consented to break 
off with him and answered that I accepted his de- 
cision. 

Victor Karenin : And now you regret it ? 

Liza : Yes, I felt that it was bad on my part, that 
I couldn't do it. Anything is preferable to sep- 
arating from him. Well, in a word, give him this 
letter. Please, Victor, — give him this letter, and 
tell — bring him back. 

Victor Karenin: (surprised) But how? 

Liza: Tell him that I ask him to forget every- 
thing and to return. I might simply have sent the 
letter. But I know him: his first impulse will, as 
usual, be a good one, but later, under someone's 
influence, he will change his mind and do something 
altogether different from his real intentions. 

Victor Karenin : I will do what I can. 

Liza: You are astonished that I should ask just 
you? 

Victor Karenin : No — well, to tell the truth, 
yes, I am astonished. 

Liza: But you are not angry? 

Victor Karenin: Can I be angry with you? 

Liza : I asked you because I knew that you loved 
him. 



THE LIVING CORPSE. 21 

Victor Karenin : Both him and you. You know- 
it. I love not for myself, but for you. And I thank 
you for trusting me. I will do what I can. 

Liza: I know you will, and I will tell you all: 
I was just down at Afremov's to find out where he 
was. They told me he had gone to the gipsies.' 
And that's just what I am afraid of. It's that in- 
fatuation that I fear. I know that if he will not 
be restrained in time he will let himself be carried 
away. That's just what must be prevented. So 
you will go over ? 

Victor Karenin : Of course, at once. 

Liza: Go over, find him and tell him that all is 
forgotten, that I am waiting for him. 

Victor Karenin: (rises) But where am I to 
look for him? 

Liza: He is at the gipsies'. I was there myself. 
I was at the door; I wanted to send the letter up, 
but I changed my mind and decided to ask you to 
do it for me. Here is the address. So tell him to 
come back, that nothing happened, that all's for- 
gotten. Do it out of love for him and friendship 
for us. 

Victor Karenin : I will do all I can. (bows and 
leaves.) 



SCENE XII. 
Lisa alone. 

Liza: I cannot, I cannot. Anything is better 
than — I cannot. 



SCENE XIII. 

Liza; Sasha (enters). 

Sasha: Well, did you send it? 



I THE LIVING CORPSE. 

Liza: (nods yes.) 

Sasha: And he consented? 

Liza: Of course. 

Sasha : Why him ? I don't understand. 

Liza: Whom else? 

Sasha: But you know that he is in love with 



you 



Liza : All that was, and is no longer. But whom 
do you want me to ask, pray? Do you think he'll 
come back? 

Sasha : I'm sure he will, because — 



SCENE XIV. 

Lisa; Sasha; Anna Pavlovna. (Sasha stops 
short.) 

Anna Pavlovna : And where is Victor Michailo- 
vich? 

Liza : He's gone. 

Anna Pavlovna: Gone? 

Liza: I asked him to carry out my request. 

Anna Pavlona: What request? Another se- 
cret? 

Liza: No secret at all. I simply asked him to 
give the letter personally to Fedya. 

Anna Pavlovna : To Fedya ? To Fedor Vasilye- 
vich? 

Liza: Yes, to Fedya. 

Anna Pavlovna: I thought it was all over be- 
tween you two ? 

Liza : I cannot part with him. 

Anna Pavlovna : What ! Starting all over again? 

Liza : I wanted to, I tried to, but I couldn't. Any- 
thing you want rather than part with him. 

Anna Pavlovna: Well, do you mean to bring 
him back? 



THE LIVING CORPSE. 23 

Liza : Yes. 

Anna Pavlovna: Admit that nasty thing to the 
house again ? 

Liza : Mamma, I ask you not to speak that way 
of my husband. 

Anna Pavlovna: He was your husband. 

Liza: No, he is my husband now. 

Anna Pavlovna: A squanderer, drunkard, liber- 
tine, and you cannot part with him ? ! 

Liza: Why do you torture me? I feel badly 
enough as it is, and you seem to torture me on pur- 
pose. 

Anna Pavlovna: I'm torturing you? Then I'll 
leave at once. I can't stand this. 

Liza : (remains silent.) 

Anna Pavlovna : I see that you want me to go, 
that I'm in your way. I cannot endure it. I don't 
understand any of your doings, any of those new- 
fangled notions of yours. First you decide to sepa- 
rate from him, then you suddenly send for the man 
who is in love with you — 

Liza : Nothing of the kind. 

Anna Pavlovna: Karenin proposes to you — 
and you send him to fetch back your husband ! And 
why? To arouse Karenin's jealousy? 

Liza: Mamma, what you say is terrible. Leave 
me! 

Anna Pavlovna: That's right — drive your 
mother out of the house and bring back your scamp 
of a husband. I won't be long in going, I tell you. 
Good-bye, then. The Lord be with you ! Do as 
you please! (goes out, slamming the door.) 



24 THE LIVING CORPSE. 

SCENE XV. 
Liza and Sasha. 

"Liza: (drops into a chair.) This is too much! 
Sasha : Never mind ! It'll turn out all right. We 
shall manage to pacify mamma. 



SCENE XVI. 

Liza; Sasha; Anna Pavlovna (passes by.) 
Anna Pavlovna: Dunyasha! My suit-case! 
Sasha : Mamma, listen ! (follows her, and winks 
at her sister.) 



TABLEAU II. 



SCENE I. 

A room at the gipsies'. The chorus is singing 
"Kanavela." Fedya is lying on a couch, face down, 
without his coat. Afremov is astride of a chair, 
facing the leader of the chorus. An officer sits at a 
table on which stand champagne-bottles and glasses. 
At the same table a composer sits, taking down the 
melodies. 

Afremov : Fedya, are you asleep ? 

Fedya : Keep quiet ! Now let's have " 'Twas Not 
At Eventide." 

Gipsy : Not just now, Feodor Vasilyevich. Now 
let Masha sing alone. 

Fedya : All right. But after that " 'Twas Not 
At Eventide." (lies down again.) 

Officer Г "The Fatal Hour !" 

Gipsy : Agreed ? 



THE LIVING CORPSE. 25 

Afremov : It'll do. 

Officer: (to the composer.) Well, did you take 
it down ? 

Composer : Impossible. It sounds different every 
time. And the scale is somehow altogether unusual. 
Look here (to the gipsy girl, zvho is looking on), 
how does this go? (hums.) 

Gipsy Girl: That's just right! That's fine! 

Fedya : (rising.) He won't take it down, and if 
he takes it down and sticks it into an opera he'll 
spoil it all. Well, Masha, let's have it, "The Hour," 
for all I care. Take the guitar, (gets up, sits down 
in front of her, and gazes into her eyes.) 

Masha: (sings.) 

Fedya: Bravo! Talk about Masha! Now let's 
have " 'Twas Not At Eventide." 

Afremov: No! Stop a moment! Sing mine first, 
a dirge. 

Officer : Why a dirge ? 

Afremov : Why, because when I'll be dead — you 
understand, of course, that I shall die some time or 
other — the gipsies will come to my grave — you un- 
derstand. That's what I'll demand of my wife in 
my last will. And they'll sing "A hundred leagues 
I wandered once," and I'll jump out of my grave — 
understand? (to the composer:) That's what 
you're to take down! Well, let's have it! (the gip- 
sies sing.) 

Afremov: Well, how's that? Now let's have 
"Come, brave lads." (the gipsies sing.) 

Afremov: (zvinks slyly) The gipsies smile and 
continue to sing; applause. 

Afremov: (sits dozvn. The singing comes to an 
end.) 

Gipsies: Talk about Michail Aleksandrovich — a 
full fledged gipsy! 



26 THE LIVING CORPSE. 

Fedya: Now let's have "'Twas Not At Even- 
tide." (gipsies sing.) 

Fedya : That's the way ! That's it ! Wonderful ! 
And where does all that is expressed here happen? 
Ah, fine! Why can a man attain to such ecstasy, 
and not be able to sustain it ? 

Composer: (writing down) Yes, it is very 
strange. 

Fedya: It's not strange; it's only truly beautiful. 

Afremov: Now, let me try it (takes the guitar 
and sits down near Katya.) 

Composer: After all, it's very simple; it's all in 
the rhythm. 

Fedya : (Motions disapproval, goes over to Masha 
and sits down on the sofa at her side) Ah, Masha, 
Masha, how you stir my innermost being! 

Masha: Well, and what do I ask of you in re- 
turn? 

Fedya : What ? Money ? ( takes some out of his 
trouser- pocket) Well, here you are, take it. 

Masha: (laughs, takes the money, and hides it in 
her bosom.) 

Fedya: (to the gipsies.) How is one to under- 
stand it? To me she opens the gates of heaven, and 
all she cares for is the money she gets ! You see, 
you don't for a moment understand what you are 
doing ! 

Masha: Why don't I? I understand that whom 
I love, for him I try to sing my best. 

Fedya: And you love me? 

Masha: Plain enough I do. 

Fedya: Glorious! (kisses her.) 



THE LIVING CORPSE. 27 

SCENE II. 

The gipsies and the gipsy-girls go out. Three 
couples remain, Fedya zvith Masha; Afremov with 
Katya; the Officer with Gasha. The Composer con- 
tinues writing. The gipsy runs his fingers over the 
strings of the guitar, playing a walse. 

Fedya: I'm married, you know. And as for you, 
the chorus doesn't one bit like what you're doing. 

Masha: The chorus can get along well enough 
without me, but a heart's a heart. Whom I love, 
I love. And whom I hate I hate. 

Fedya : Ah, wonderful ! Are you happy ? 

Masha : Of course I am. When the guests are 
the right sort, we, too, have a jolly time. 



SCENE III. 

A gipsy enters. 

Gipsy: {to Fedya) A gentleman is asking for 
you. 

Fedya : Who is it ? 

Gipsy : I don't know. He's well dressed ; a sable 
coat. 

Fedya: Somebody of importance? Well, call 
him in. 



SCENE IV. 

The same, without the gipsy. 
Afremov : Who can be looking for you here ? 
Fedya : The devil knows ! Who has any business 
with me ? 



THE LIVING CORPSE. 



SCENE V. 



The same; Karenin enters and looks around. 

Fedya: Ah, Victor! Didn't expect you, to be 
sure ! Take off your things. What wind blew you 
here? Well, sit down. You'll hear " Twas Not At 
Eventide." 

Victor Karenin : Je voudrais vous parler sans 
temoins. 

Fedya: What about? 

Victor Karenin : Je viens de chez vous. Votre 
femme m'a charge de cette lettre, et puis . 

Fedya: (takes the letter, reads it, frowns, then 
smiling pleasantly.) Listen, Karenin, you no doubt 
know what's in this letter? 

Victor Karenin : I know and wish to say 

Fedya: Hold on, hold on. Please don't think 
that I am drunk, and that I'm not responsible for 
what I say. I am drunk, but in this matter I see 
everything clearly. Well, what were you instructed 
to say? 

Victor Karenin : I was instructed to find you 
and to tell you that — she — is waiting for you. She 
asks you to forget everything and to come back. 

Fedya: (listens silently, looking in his eyes) I 
don't understand, just the same, why it was 
you ? 

Victor Karenin : Elizaveta Andreevna sent for 
me and asked me to 

Fedya: I see. 

Victor Karenin : But I ask you, not so much in 
your wife's name as in my own, to return home with 
me. 

Fedya : You're so much better than I am. What 
nonsense ! It isn't very hard to be better than I am. 
I'm a good-for-nothing, and you're a very excellent 



THE LIVING CORPSE. 29 

person. And for this very reason I shall not change 
my decision. But that's not really the reason. I 
simply cannot and will not do it. And how could 
I? 

Victor Karenin : Let us go to my home now. 
I shall tell them that you will return, and to- 
morrow 

Fedya: And to-morrow, what then? It will be 
all the same. I'll be I, and she'll be she (goes to the 
table and takes a drink.) A tooth should be pulled 
out at the first attempt. I told her, you know, that 
if I should break my word again, she should throw 
me over. I broke it : that ends it all. 

Victor Karenin : For you, but not for her. 

Fedya: Strange that you should be so anxious 
that our union should not be broken. 

Victor Karenin : (is about to say something. 
Masha approaches.) 

Fedya: (interrupting him.) Just hear how she 
sings "Through the fields a-sowing flax." Masha! 
(the gipsies gather.) 

Masha: (in a whisper.) I say, let's sing a toast 
to the stranger ! 

Fedya: (laughingly) A toast to Victor Michail- 
ovich! (the gipsies sing.) 

Victor Karenin : (listens in embarrassment, then 
asks:) How much shall I give them? 

Fedya : Twenty-five will do. 

Victor Karenin: (gives them the money.) 

Fedya : Marvelous ! Now let's have "Through 
the fields a-sowing flax." (the gipsies sing.) 

Fedya: (looking around.) Karenin has skipped! 
Well, to the deuce with him! (the gipsies scatter.) 



30 THE LIVING CORPSE. 

SCENE VI. 

Fedya: (sitting down with Masha) Do you know 
who that was ? 

Masha: I heard his name. 

Fedya : He's an excellent chap. He came to take 
me home to my wife. She loves me, as big a fool 
as I am, and this is the way I behave ! 

Masha: Well, it's mean of you. You ought to 
go to her. You ought to pity her. 

Fedya : You think I should ? I think I shouldn't. 

Masha: Naturally, if you don't love her, then 
you needn't. But love is a fine thing. 

Fedya: How do you know? 

Masha : I simply know ; that's all. 

Fedya: Well, kiss me. Boys! Once more 
"Through the fields," and then an end to it. (the 
gipsies commence singing.) 

Fedya:' Ah, glorious! If there were only no 
awakening . Just to die like this . 



ACT II. 



TABLEAU I. 



Two weeks have passed since the first act. Liza's 
home. Karenin and Anna Pavlovna are sitting in 
the dining-room. Sasha enters. 



SCENE I. 

Victor Karenin : Well ? 

Sasha: The doctor says the danger is over. 
Only we have to beware of a cold. 

Anna Pavlovna : And Liza is all worn out. 

Sasha: He says it is false croup of a mild sort. 
{pointing to a basket.) What's this? 

Anna Pavlovna: Those are grapes that Victor 
brought. 

Victor Karenin : Won't you have some ? 

Sasha: Yes, she'll like them. She has become 
very nervous. 

Victor Karenin: Two nights without sleep, 
without food. 

Sasha: {smiling) But you didn't sleep, either. 

Victor Karenin : I — that's another matter. 



SCENE II. 

The same. Enter Liza and the Doctor. 
Doctor: {impressively) That's right. Change 
it every half hour if he's not asleep. If he's asleep, 



32 THE LIVING CORPSE. 

don't disturb him. You needn't paint his throat. 
The temperature of the room is to be kept constant. 

Liza: And if he has a choking spell again? 

Doctor: He won't. But if he should — use the 
powders. In addition, give him one in the morning 
and one in the evening. I'll write out the prescrip- 
tion at once. 

Anna Pavlovna: Won't you have some tea, 
Doctor ? 

Doctor: No, thank you. My patients are wait- 
ing, (sitting down at the table.) (Sasha brings 
him pen and ink.) 

Liza : Are you sure it's not the croup ? 

Doctor: (smiling) Absolutely, (writes.) 

Victor Karenin : (to Lisa.) Have some tea, 
then, or, still better, go and rest ; just look at your- 
self and see what you look like ! 

Liza : Now I'm myself again. Thank you. What 
a true friend you've been to me ! (pressing his hand.) 
(Sasha turns away in disgust.) 

Liza : Thanks, dear friend. That's how a dear — 

Victor Karenin : What have I done ? There's 
certainly nothing to thank me for. 

Liza: And who sat up nights? Who brought 
the specialist? 

Victor Karenin : I am amply rewarded by the 
fact that Misha is out of danger, and above all — by 
your appreciation. 

Liza: (presses his hand again and laughs, show- 
ing him a coin that she held in her hand) That's 
for the Doctor. But I never know how to give it 
to him. 

Victor Karenin : Neither do I. 

Liza: Think of giving money to a doctor! He 
has saved what is dearer to me than my life, and in 



THE LIVING CORPSE. 33 

return I offer him money. There's something so 
vulgar about it. 

Anna Pavlovna : Let me have it ; I'll give it to 
him. I know how. It's very simple. 

Doctor: (rising and handing her the prescrip- 
tion.) Dissolve one of these powders thoroughly in 
a tablespoonful of boiled water and — (continues.) 

(Karenin at the table, drinking tea. Anna Pav- 
lovna and Sasha step into the foreground.) 

Sasha: I cannot endure their behaviour. She 
acts just as if she were in love with him. 

Anna Pavlovna : What's there so strange about 
that? 

Sasha: It's disgusting. 

Doctor: (departs, bidding them all good-bye. 
Anna Pavlovna takes him to the door.) 



SCENE III. 

Liza, Karenin, Sasha. 

Liza: (to Karenin) He's such a dear now. As 
soon as he felt better he began to smile and prattle. 
I'll go to him. And yet I don't want to leave you 
alone, either. 

Victor Karenin : But have some tea, have some- 
thing to eat. 

Liza : I don't need anything now. I feel so well, 
now that all the torture is over, (sobbing.) 

Victor Karenin : There now, you see how weak 
you are ! 

Liza: I am happy. Don't you want to look at 
him? 

Victor Karenin : Why, of course. 

Liza: Come along, (they go out.) 



THE LIVING CORPSE. 



SCENE IV. 



Anna Pavlovna (enters), Sasha. 

Anna Pavlovna: (to Sasha.) Why are you 
looking as solemn as an owl? I handed it to him 
very nicely, and he took it, too. 

Sasha : It's sickening. She took him along with 
her into the nursery, as if he were her fiance or her 
husband. 

Anna Pavlovna : What do you care ? What are 
you fuming about? Perhaps you wanted to marry 
him? 

Sasha: I! that poker? I would rather marry 
I don't know whom than him. I never even gave 
it a thought. I am only disgusted that Liza can get 
on such intimate terms with a stranger, after Fed- 
ya. 

Anna Pavlovna: A fine stranger indeed! A 
childhood friend! 

Sasha : But I see by their smiles, their eyes, that 
they are in love with one another. 

Anna Pavlovna: What's there so strange about 
that? He took the child's illness so much to heart, 
showed so much sympathy and was so helpful. 
Naturally she's grateful ; and, besides, why shouldn't 
she fall in love with Victor and marry him ? 

Sasha : That would be terrible, disgusting ! Dis- 
gusting ! 



SCENE V. 

Karenin and Liza enter. 

Victor Karenin: (takes leave silently.) 

Sasha: (goes out in anger.) 



THE LIVING CORPSE. 35 

SCENE VI. 

Anna Уаѵіоѵпа and Liza. 

"Liza: (to her mother.) What's the matter with 
her? 
Anna Pavlovna : I really don't know. 
Liza: (sighs silently.) 



TABLEAU II. 



In Afremov's den. Glasses filled with wine. 
Guests. 



SCENE I. 

Afremov, Fedya, Stachov (shaggy, unkempt), 
Butkevich (smooth-faced), Korotkov (a hanger- 
on). 

Korotkov: And I tell you she'll be left at the 
post! "La Belle Boas" can't be matched in Europe. 
What'llyoubet? 

Stachov : Hold your horses, old boy ! You know 
well enough that nobody believes a word of what 
you say, and that no one will take you up. 

Korotkov: I tell you that your Kartush will be 
left at the post. 

Afremov: Stop quarreling! Here's a way out 
of it ! Ask Fedya ; he'll tell you the truth. 

Fedya : Both horses are good. It all depends on 
the jockey. 

Stachov: Gusev is a rascal. You have to keep 
an eye on him. 

Korotkov: (shouting.) It isn't so! 

Fedya: There now, just a moment; let me settle 
this for you. Who won the Derby ? 



36 THE LIVING CORPSE. 

Korotkov: He won it, but that doesn't signify 
anything. It was mere luck. If Krakus hadn't 
fallen sick look ! (lackey enters.) 



SCENE II. 

The same, and the lackey. 

Afremov: What is it? 

Lackey : There's a lady here — she wants to see 
Feodor Vasilyevich. 

Afremov : What sort of a lady ? A real one ? 

Lackey : I can't tell, she looks like a real one. 

Afremov: Fedya, a lady wants to see you. 

Fedya: (frightened) Who is it? 

Afremov: He doesn't know. 

Lackey : I'll ask her into the parlor, anyhow. 

Fedya: Wait, I'll go and see. (Fedya and the 
lackey go out.) 



SCENE III. 

The same, without Fedya and the lackey. 

Korotkov: Who can want him? — I suppose it's 
Masha. 

Stachov: Whom do you mean? 

Korotkov: The gipsy-girl. She's in love with 
him. And she loves him as a cat loves. 

Stachov: She's a dear girl! And how she 
sings ! 

Afremov: Wonderfully! Tanyusha and she. 
Yesterday they sang, together with Peter 

Stachov : There's a lucky dog for you ! 

Afremov: Because the women folks like him? 
God help them ! 



THE LIVING CORPSE. 37 

Korotkov: I can't stand those gipsy girls — 
there's nothing chic about them. 

Butkevich : Don't say that ! 

Korotkov: I would exchange them all for one 
French girl. 

Afremov : You're a well-known judge of beauty. 
I think I'll go and see who it is — (goes out.) 



SCENE IV. 

The same, without Afremov. 

Stachov : If it's Masha, bring her in. We'll make 
her sing something. No, gipsies aren't what they 
used to be. There was one of them, Tanyusha — 
Ah ! — There's no one like her ! 

Butkevich : But I think they're all alike. 

Stachov: How can you say that, knowing that 
insipid ballads have taken the place of beautiful 
songs ? 

Butkevich : There are some beautiful ballads, 
too. 

Korotkov: What will you wager that I will 
have her sing something and you will not be able to 
tell whether it's a ballad or a song? 

Stachov : As usual, Korotkov is ready to bet. 



SCENE V. 

The same, and Afremov. 

Afremov: (enters) Gentlemen, it is not Masha. 
And there's no other room but this one to receive 
the visitor in. Let's go into the billiard room. 
(They all go out.) 



38 THE LIVING CORPSE. 

SCENE VI. 

Enter Fedya and Sasha. 

Sasha: {confused) Fedya, forgive me if I am 
embarrassing you ; but for goodness' sake, listen to 
me. {Her voice is trembling.) 

Fedya: {pacing the room). {Sasha has seated 
herself and looks at him.) 

Sasha: Fedya, come back home. 

Fedya: Listen, Sasha, I understand you very 
well. Sasha, my dear, I would have done the same 
in your place. I would have tried to somehow re- 
store everything to its former state; but were you 
in my place, dear, sensitive little girl, as strange as 
it may sound — were you in my place, you would 
surely have done what I did, that is, you would 
have gone away, you would have refused to be in 
the way of another person's happiness. 

Sasha: What do you mean by "in the way?" 
Do you think that Liza can live without you? 

Fedya: Ah, my dear, darling Sasha, she can, 
yes, she can, and she will still be happy, much hap- 
pier than with me. 

Sasha : Never ! 

Fedya: That's what you imagine, {holding her 
hand in his.) But that isn't it. The main thing is 
that I can't, you see. You know how it is — take a 
piece of card-board and bend it this way and that, 
you may bend it a hundred times without breaking 
it, but bend it once more and you'll break it. That's 
the way it is with Liza and me. It hurts me too 
much to look her in the face, and she feels the same 
way, believe me. 

Sasha : No, no ! 

Fedya: You say no, but you know it's so. 



THE LIVING CORPSE. 39 

Sasha : I only judge by myself. If I were in 
her place and you told me what you're telling me 
now — I should have felt perfectly miserable. 

Fedya: Yes, you would — (silence; both are em- 
barrassed.) 

Sasha: (rising) Must things really remain this 
way ? 

Fedya: There's no help for it 

Sasha: Fedya, come back. 

Fedya : Thank you, dear Sasha. You will always 
hold a dear place in my memory. Well, good-bye, 
my dear. Let me kiss you. (Kisses her forehead.) 

Sasha: (Excited) No, I won't say good-bye, I 
don't believe it, I can't believe it — Fedya ! 

Fedya: Well, then listen. Only promise that 
you'll not repeat what I am about to tell you. Do 
you promise? 

Sasha : Certainly. 

Fedya: Listen, then, Sasha. It is true I am her 
husband, the father of her child, but I am in the 
way. Wait, just a moment, don't contradict me. 
You think I am jealous? Not one bit. In the first 
place I have no right to be, and in the second place 
I have no cause. Victor Karenin is an old friend 
of hers and of mine too. And he loves her and she 
loves him. 

Sasha: It's not true. 

Fedya: She loves as any honest, pure woman 
loves, who does not allow herself to love anybody 
but her husband. But she loves and is going to love 
him openly when this obstacle (pointing to himself) 
has been removed and I am removing it, and they 
will be happy, (his voice trembles.) 

Sasha : Fedya, don't say that. 

Fedya : You know very well that it is true, and 
I shall rejoice in their happiness, and this is the 



40 THE LIVING CORPSE. 

best that I can do — I shall not return, I tell you, and 
I shall give them their freedom — and that's what 
you must tell them . Don't, don't . Good- 
bye! (Kisses her on the forehead and opens the 
door.) 

Sasha : Fedya, I admire you ! 

Fedya: Good-bye, good-bye . (Sasha goes 

out.) 



SCENE VII. 
Fedya, alone. 

Fedya: Yes, yes — wonderful, excellent- 
(Rings.) 



SCENE VIII. 

Fedya and the lackey. 
Fedya : Call your master. 



SCENE IX. 
Fedya : It's true, it's true 



SCENE X. 

Afremov enters. 
Fedya: Let us go out. 
Afremov : How did you manage things ? 
Fedya: Fine! "She vowed and she promised." 
Excellently! Where is everybody? 
Afremov : They're playing billiards upstairs. 
Fedya : Very well, let's go over there for a while. 



ACT III. 



TABLEAU I. 
Characters. 

Prince A brezkov, a zvell-dressed bachelor of sixty, 
with a mustache, a dignified, serious-looking old 
soldier. Anna Dmitrievna Karenina (Victor's 
mother,) grande dame of fifty, who tries to appear 
youthful; she uses French expressions every now 
and then. Also Victor, Lisa and the lackey. 

(Anna Dmitrievnd's boudoir, simply yet sumptu- 
ously furnished, and full of souvenirs.) 



SCENE I. 

Anna Dmitrievna and the lackey. 
Lackey: (announces) Prince Sergey Abrezkov. 
Anna Dmitrievna: Show him in. (Turns around 
and tidies herself before the mirror.) 



SCENE II. 

Prince Abrezkov: (entering) J'espere que je 
ne force pas la consigne. (Kissing her hand.) 

Anna Dmitrievna: You know that vous etes 
toujours le bienvenu, and just now especially so. 
Did you receive my note? 



42 THE LIVING CORPSE. 

Prince Abrezkov : Yes. And this is my answer. 

Anna Dmitrievna: Ah, my friend, I'm getting 
desperate. II est ensorcele, positivement ensor- 
cele. I never knew him to be so persistent, so ob- 
stinate, so heartless and indifferent to me. He's an 
altogether different person since that woman threw 
her husband over. 

Prince Abrezkov: Well, what is the matter? 
What does he want ? 

Anna Dmitrievna: He wants to marry her, at 
any cost. 

Prince Abrezkov: And what about her hus- 
band? 

Anna Dmitrievna : He is willing to give her a 
divorce. 

Prince Abrezkov: Is that so! 

Anna Dmitrievna: And Victor is ready to 
plunge right into it, into all the mire, into all that 
mess of lawyers and testimony. Tout ca est degou- 
tant. Yet all that doesn't discourage him. I don't 
understand him. With all his sensitiveness and shy- 
ness, he — 

Prince Abrezkov: — is in love. Ah, if a man 
is really in love 

Anna Dmitrievna: Yes, but why could love 
in our days be pure, uniting people by bonds of 
friendship that lasted through life ? That's the kind 
of love I understand and value. 

Prince Abrezkov: Nowadays the new genera- 
tion is not satisfied with such ideal relations. La 
possession de 1'ame ne leur suffit pas. We cannot 
change that! But what about him? 

Anna Dmitrievna: What shall I tell you of 
him? He is as if under a spell. He is no longer 
his former self. You know — I went to see her. He 
begged me so much. I went over, but did not find 



THE LIVING CORPSE. 43 

her in, and left my card. Elle m'a fait demander 
si je ne pourrais la recevoir. So I'm expecting her 
soon (looking at the clock), at about two o'clock. 
I promised Victor to receive her, but just imagine 
the position I am in ! I am not altogether myself ; 
and by force of habit I sent for you, for I need your 
help. 

Prince Abrezkov: Thank you. 

Anna Dmitrievna: You must realize that this 
visit of hers will determine everything, Victor's 
whole life. I must either refuse to give my consent 
or — but how can I ? 

Prince Abrezkov: Do you know her at all? 

Anna Dmitrievna: I have never seen her. But 
I'm afraid of her. A good woman could not pos- 
sibly decide to leave her husband, especially since 
he is such a good man. He is a friend of Victor's, 
you know, and used to come to our house. He was 
charming. And even if he weren't. Quelsque 
soient les torts qu'il a en vis-a-vis d'elle, a woman 
should never leave her husband ; she should bear 
her cross. One thing I cannot understand — and 
that is how Victor, with his principles, can think of 
marrying a divorced woman! How many times — 
why, only a short time ago, he had a hot argument 
with Spitzyn, in my presence, proving that divorce 
is contrary to the spirit of Christianity, and now 
he acts against his own convictions. Si elle a pu 

lui charmer a tine telle point . I am afraid 

of her. I called you, however, to get your advice, — 
and here I am doing all the talking! What is 
your opinion? Tell me! How do you feel about 
it? What do you think should be done? Did you 
speak to Victor? 

Prince Abrezkov: I did, and I think he really 
loves her; quite unawares, he has grown to love 



44 THE LIVING CORPSE. 

her deeply ; this love has taken strong possession of 
him; you know how slow he is to make up his 
mind; so much the harder to make him change it 
once it is made up. What has once entered his 
heart will not be rooted out; he will love no one 
but her ; and he will never be happy with another. 

Anna Dmitrievna: And to think how ready 
Varya Kazantseva would have been to marry him ! 
What a charming girl, and how she loves him ! 

Prince Abrezkov: (smiling) C'est compter sans 
son hote. That is altogether out of the question 
now. And I think it would be best to give in and 
help him get married. 

Anna Dmitrievna: To a divorced woman, so 
that he should meet his wife's husband? I don't 
understand how you can say that so calmly! Is 
that the sort of a woman a mother could wish to 
see her only son married to? And such a son as 
mine? 

Prince Abrezkov : But what is to be done, dear 
friend? Of course, it would be better if he were 
to marry a girl whom you knew and loved; but if 

that is impossible . And besides, what if he 

had married a gipsy, or heaven-knows-whom ? And 
Liza Protasova — is a very nice, amiable woman. I 
know of her through my niece Nellie. She is a 
kind, gentle, loving, pure woman. 

Anna Dmitrievna : A pure woman, who decides 
to throw her husband over? 

Prince Abrezkov: This is not at all like you. 
You are unkind and unfair. Her husband is one 
of those men of whom it may be said that they are 
their own worst enemies. But he is a still greater 
enemy to his wife. He is a weak, depraved man, 
a drunkard. He has squandered his own fortune, 
and all of hers too, — and don't forget that she has 



THE LIVING CORPSE. 45 

a child. How can you blame a woman for leaving 
such a husband? Besides, it wasn't she who left 
him, but he who left her. 

Anna Dmitrievna : Oh, what filth, what mire ! 
And I have to besmirch myself with it ! 

Prince Abrezkov: And what does your religion 
teach you to do ? 

Anna Dmitrievna: Yes, yes, — forgiveness. "As 
we forgive our debtors." Mais c'est plus fort que 
moi. 

Prince Abrezkov : How could she live with such 
a person, pray ? Even if she didn't love anyone else, 
it was right for her to have done what she did, for 
the sake of her child. The husband himself, who 
is a kind and reasonable man, when he has his wits 
about him, advised her to do it . 



SCENE III. 

Anna Dmitrievna, Prince Abrezkov; Victor 
enters. (Kisses his mother's hand, and greets Prince 
Abrezkov.) 

Victor Karenin : Mamma, I came to tell you 
just one thing. Elizaveta Andreevna will be here 
soon, and I ask and beg you to do only this : If you 
persist in refusing to give your consent to my mar- 
riage 

Anna Dmitrievna: (interrupting him) Of 
course I shall persist in refusing to give my con- 
sent. 

Victor Karenin: (continuing to talk, and frown- 
ing) I have only one request to make of you: Don't 
mention your unwillingness to consent, and don't 
make up your mind too soon. 



46 THE LIVING CORPSE. 

Anna Dmitrievna: I don't think I shall care 
to discuss the matter. I, for one, shall certainly not 
broach the subject. 

Victor Karenin: Neither will she. I only 
wanted that you should get to know her. 

Anna Dmitrievna: There is one thing I can- 
not understand and that is, how you reconcile your 
desire to marry Madame Protasov, whose husband 
is living, with your religious principles that di- 
vorce is contrary to Christianity? 

Victor Karenin: Mamma, it's cruel of you! 
Do you mean to say that we are all so infallible that 
we cannot deviate from our opinions, when life is 
so complex? Mamma, why are you so cruel to 
me? 

Anna Dmitrievna: I love you, and I want to 
see you happy. 

Victor Karenin: (to Prince Abrezkov) Sergey 
Dmitrievich ! 

Prince Abrezkov: Of course you want to see 
him happy, but we greyheads cannot understand the 
young people. It is especially hard for a mother 
who has become accustomed to her own idea of her 
son's happiness. All women are like that. 

Anna Dmitrievna: That's just it. Everybody 
is against me. Of course, you may do as you please, 

You're of age, vous etes majeur . But you 

will break my heart. 

Victor Karenin : This is so unlike you ! This is 
worse than cruelty. 

Prince Abrezkov: (to Victor) Stop, Victor. 
Mamma always says more than she means. 

Anna Dmitrievna: I shall say what I feel and 
think, and I shall do so without hurting her feel- 
ings. 

Prince Abrezkov: We don't doubt it. 



THE LIVING CORPSE. 47 

SCENE IV. 

Anna Dmitrievna, Prince Abrezkov, Victor; the 
lackey {enters). 

Prince Abrezkov: Here she is. 

Victor Karenin : I shall go to receive her. 

Lackey: Elizaveta Andreevna Protasova. 

Victor Karenin : I'm going. Mamma, please — . 
{leaves.) 

Prince Abrezkov: {also rising.) 

Anna Dmitrievna: Show her in. {to Prince 
Abrezkov) No, remain here. 



SCENE V. 

Anna Dmitrievna and Prince Abrezkov. 

Prince Abrezkov: I thought you would feel 
more at ease en tete-a-tete. 

Anna Dmitrievna : No, I fear it. {restless) If 
I should want to remain tete-a-tete with her, I shall 
nod to you. Qa dependra. Just now it would em- 
barrass me to remain alone with her. I shall signal 
to you like this, {makes a motion.) 

Prince Abrezkov: I shall understand. I'm sure 
you will like her. Only be fair to her. 

Anna Dmitrievna: To think that you are all 
against me! 



SCENE VI. 

Anna Dmitrievna, Prince Abrezkov. Liza enters 
in a hat and afternoon-gown. 

Anna Dmitrievna: {rising) I was sorry not to 
find you in, but you have been kind enough to come 
over yourself. 



48 THE LIVING CORPSE. 

Liza: I never expected it. I am so grateful to 
you that you wanted to see me. 

Anna Dmitrievna: Have you met? (pointing 
to Prince Abrezkov.) 

Prince Abrezkov: Of course, I have had the 
honor of meeting Mme. Protasov. (shaking hands, 
then sits down) My niece Nellie often speaks of 
you. 

Liza: Yes, we were good friends, (glancing 
timidly at Anna Dmitrievna) And we are on friendly 
terms now too. (to Anna Dmitrievna) I never ex- 
pected that you would want to see me. 

Anna Dmitrievna : I knew your husband well. 
He was friendly with Victor and used to call on us 
before he went to live in Tambov. I believe it was 
there that he married you? 

Liza: Yes, we were married there. 

Anna Dmitrievna: And, after that, when he 
came back to Moscow, he did not come to see us 
any more. 

Liza: Yes, he hardly went anywhere. 

Anna Dmitrievna: And he never arranged for 
us to meet, (awkward silence.) 

Prince Abrezkov: The last time I saw you 
was at the Demisov's, at a performance. It was 
very enjoyable. And you took part in it. 

Liza : No — Oh yes, I remember. I did take part. 
(again silence) Anna Dmitrievna forgive me, if 
what I'm going to say will hurt you, but I cannot, 
I don't know how to conceal my feelings. I came 
because Victor Michailovich said — because he — that 
is because you wanted to see me — but I would rather 
say it all — (sobbing) — my heart is heavy — and you 
are so kind. 

Prince Abrezkov : I think I'd better go. 



THE LIVING CORPSE. 49 

Anna Dmitrievna: Yes, do. 
Prince Abrezkov: Good-bye. (takes leave of 
the two women and goes out.) 



SCENE VII. 

Anna Dmitrievna and Liza. 

Anna Dmitrievna: Listen. Liza — I don't know 
your full name, but it doesn't matter. 

Liza : It's Liza Andreevna. 

Anna Dmitrievna: Well, never mind — Liza. 
I am very sorry for you, I like you. But I love Vic- 
tor. He is the only being in this world I love. I 
know his soul as I do my own. His is a proud soul. 
He was proud when a mere boy — proud not of his 
name and fortune, but of his purity, his moral stand- 
ing ; and he has preserved it. He is as innocent as a 
virgin. 

Liza : I know it. 

Anna Dmitrievna : He never loved any woman 
before. You are the first one. I won't say that I am 
not jealous of you. I am. But we mothers — your 
boy is still small, it's too early for you — we are pre- 
paring ourselves for it. I was preparing myself to 
yield him to a wife and not be jealous. But to yield 
him only to one as pure as himself. 

Liza : I — do you mean that I . 

Anna Dmitrievna: Excuse me, I know it's not 
your fault, but you are unfortunate. I know him, 
however. At present he is ready to put up with 
everything and will do it; but he will suffer and 
never say a word. His wounded pride will suffer 
and he will be unhappy. 

Liza: I was thinking of that myself. 

Anna Dmitrievna : Liza, my dear, you are a 



50 THE LIVING CORPSE. 

sensible, good woman. If you love him you long 
for his happiness more than for your own. And 
if that is the case, you don't want to tie him down 
and make him regret it, though he will never say 
so — never. 

Liza: I know he will not say it. I thought of 
it and asked myself that question. I thought it 
over and spoke to him about it. But what can I 
do if he says he doesn't want to live without me? I 
said: Let us be friends, don't dispose of your life, 
don't bind your pure life to my unfortunate one, 
But he wouldn't listen to me. 

Anna Dmitrievna: Yes, he doesn't want to 
listen now. 

Liza : Persuade him to leave me. I shall be satis- 
fied. I love him for the sake of his happiness, not 
mine. Only stand by me, don't hate me. Let us 
seek his happiness together, in a spirit of love. 

Anna Dmitrievna: Yes, yes, I've learned to 
love you. (kisses her; Liza weeps) But this is ter- 
rible, just the same, terrible! If only he had fallen 
in love with you before you decided to get mar- 
ried 

Liza: He says he did learn to love me then, but 
didn't want to stand in the way of his friend's hap- 
piness. 

Anna Dmitrievna: Oh, how pitiful it all is! 
But let us love each other, just the same, and the 
Lord will help us to see our way clear. 



SCENE VIII. 

Anna Dmitrievna, Lisa and Victor. 
Victor Karenin: (stepping forth) Mamma, 
dear, I heard everything — I expected it ! You have 



THE LIVING CORPSE. 51 

learned to love her, and everything will turn out 
well. 

Liza: What a pity that you heard everything — 
I would not have spoken — 

Anna Dmitrievna: I have come to no decision, 
just the same. I can only say this, that were it 
not for these aggravating circumstances, I would 
have been very much pleased, (kisses her.) 

Victor Karenin : Don't change your mind, 
please. 



TABLEAU II 



A modestly furnished room, a bed, writing desk 
and couch. 



SCENE I. 

Fedya, alone. A knock at the door. A woman's 
voice is heard from behind the door: "Why did 
you lock yourself in, Feodor Vasilyevich? Fedya, 
open the door!" 



SCENE II. 

Fedya and Masha. 

Fedya: (rises and opens the door) How nice of 
you to come! I was lonesome, very lonesome. 

Masha: Why didn't you come over to us? 
Drinking again? Oh, you ! And you gave me your 
word! 

Fedya: You know, all my money is gone. 



52 THE LIVING CORPSE. 

Masha : Why did I learn to love you ! 

Fedya : Masha ! 

Masha: Yes, Masha, Masha. If you loved me 
you would have been divorced long ago. They were 
asking you for it, too. You say that you don't love 
her; yet you cling to her. Evidently you don't 
want 

Fedya : You know well enough why I don't want 
to. 

Masha: That's all nonsense. They are right 
who say you are a will-o'-the-wisp ! 

Fedya: What shall I say? To say that your 
words hurt me would be saying what you already 
know. 

Masha : Nothing hurts you 

Fedya: You know yourself that there is only 
one joy in life for me — your love. 

Masha: My love is what it should be, but how 
about yours? 

Fedya: Well, I'm not going to assure you of it, 
there's no need of it ; you know for yourself. 

Masha: Fedya, why do you torture me? 

Fedya: I should like to know who 

Masha: (weeping) You are mean. 

Fedya: (goes over, and embraces her) Masha, 
what are you crying for ? Stop it ! One must live 
and not whimper. It doesn't become you at all, my 
little beauty ! 

Masha : You love me ? 

Fedya: Whom else should I love? 

Masha: Me alone? Well, read to me what you 
have written. 

Fedya: It will bore you. 

Masha: Since it's you who have written it, it 
must be all right. 



THE LIVING CORPSE. 53 

Fedya: Well, listen, (reads) "In the late fall 
we agreed with our comrades to meet at the Mury- 
gin landing-place. That landing-place is on a 
rocky island abounding in wild fowl. It was a dull, 
warm, listless day. A fog " 



SCENE III. 

Fedya and Masha. An old gipsy, Ivan Makaro- 
vich, and an old gipsy-woman, Nastasya Ivanovna, 
Alaska's parents, enter. 

Nastasya Ivanovna: (approaching her daugh- 
ter) That's where you are, you runaway ! Greet- 
ings to you, sir. (to her daughter) What are you 
doing to us ? Tell me ? 

Ivan Makarovich : (to Fedya) It's not fair, 
sir. You're ruining the girl. It's not at all fair. 
You're acting mean. 

Nastasya Ivanovna: Put on your shawl and 
get out at once ! What do you mean by running 
away! What'll I tell the chorus? What do you 
mean by getting in with a beggar! What can he 
give you? 

Masha: I'm not getting in with him. I love him 
and that's all. I'm not leaving the chorus. I'll 
sing, and as far 

Ivan Makarovich : Say another word and I'll 
pull your hair out, you good-for-nothing imp! 
Whose example are you following? Not your 
father's, nor your mother's, nor your aunt's. It's a 
shame, sir. We loved you ; how often did we sing 
to you for nothing ; we pitied you. And what did 
you do in return? 

Nastasya Ivanovna: He has ruined our little 
girl, our own, our only one ; he has dragged our 



54 THE LIVING CORPSE. 

jewel, our treasure into the mire — that's what he 
has done. You have no conscience. 

Fedya: Nastasya Ivanovna, you suspect me 
without any reason. Your daughter is like a sister 
to me. I guard her honor, and you will need have 
no fear. I love her — What else do you want me 
to do? 

Ivan Makarovich : It's strange you didn't love 
her when you had money. Then you might have 
paid the chorus about ten thousand roubles, say, 
and could have taken her in an honorable way. And 
now you have squandered everything and have 
taken her away by stealth. Shame on you, sir, 
shame on you! 

Masha : He didn't take me away, I came to him 
myself. And if you will take me back now, I'll go 
to him again. I love him, that's all ! My love is 
stronger that all your bars — I don't want to re- 
turn with you! 

Nastasya Ivanovna : Well, Masha, darling, don't 
get angry. You did wrong; let's go now. 

Ivan Makarovich : Well, that'll do. Come ! 
(taking her by the hand) Excuse us, sir. (all three 
leave.) 



SCENE IV. 

Fedya, Prince Abrezkov enters. 

Prince Abrezkov: Excuse me. I was an unin- 
tentional witness of an unpleasant scene. 

Fedya : Whom have I the honor of addressing ? 
(recognising him) Ah, Prince Sergey Dmitrievich. 
(shaking hands.) 

Prince Abrezkov: I said, an unintentional wit- 
ness of an unpleasant scene. I wish I could have 
avoided hearing them. But since I have heard it 



THE LIVING CORPSE. 55 

all I consider it my duty to tell you so. I was di- 
rected to this room and had to wait at the entrance 
until those people left, all the more so since you 
could not have heard my knocking at the door on 
account of their loud talking. 

Fedya: Yes, yes, come right in, please. I thank 
you for having spoken of it, for it gives me a right 
to explain the meaning of this scene to you. It 
doesn't matter what you will think of me. But I 
wish to say that the reproaches which you heard 
them hurl at this girl — the gipsy singer — are un- 
just. The girl is as pure as a dove. And my rela- 
tions to her are merely those of friendship. If, as 
may well be, they look to be romantic, that doesn't 
destroy the purity and honor of this girl. That's 
what I wanted to tell you. Now, what is it that 
you want of me? What can I do for you? 

Prince Abrezkov: In the first place, I 

Fedya : Excuse me, Prince. My present position 
in society is such that my slight and remote ac- 
quaintance with you does not entitle me to a visit 
from you, unless you are here on some business. 
Well, what is it? 

Prince Abrezkov: I will not deny it; you 
guessed right. I am here on business. However, 
I beg you to believe that the change in your posi- 
tion can in no way influence my relation to you. 

Fedya: I am quite sure of that. 

Prince Abrezkov: I am here because I have 
been asked by the son of my old friend, Anna Dmi- 
trievna Karenina, as well as by herself, to find out 
directly from you about your relations — I hope you 
will not mind my speaking of it — about your rela- 
tions to your wife, Elizaveta Andreevna Protasova. 

Fedya: My relations to my wife, I may say to 
my former wife, are all ended. 



56 THE LIVING CORPSE. 

Prince Abrezkov: I thought so. And that's 
the only reason why I undertook this difficult com- 
mission. 

Fedya: They are ended, I hasten to state, not 
because of any fault of hers, but because of my 
fault, rather because of my unlimited faults. She, 
however, is as she has always been, a most unre- 
proachable woman. 

Prince Abrezkov: So you see, Victor Karenin, 
and especially his mother, have asked me to find out 
from you just what your intentions are. 

Fedya: (excited) What intentions? — I have 
none. I give her complete freedom. More than 
that, I shall never disturb her peace. I know that 
she loves Victor Karenin. Well, let her. I con- 
sider him a great bore, but otherwise a very good, 
honest man, and I think she will be (as one usually 
puts it) happy with him. And — que le bon Dieu 
les benisse ! That's all. 

Prince Abrezkov : Yes, but we should 

Fedya : (interrupting) And don't think that I am 
the least bit jealous. If I said of Victor that he was 
a bore, I take back that word. He is an excellent, 
honest, moral man, the very opposite of me. And 
he has loved her from his childhood. Perhaps she, 
too, loved him when she married me. That hap- 
pens. The best love is the kind one is not conscious 
of. She always loved him, I think, but, as an honest 
woman, did not confess it even to herself. But 
that — a kind of shadow was thrown over our mar- 
ried life — However, why should I confess all this 
to you ? 

Prince Abrezkov : Please do. Believe me that 
the most important thing in this visit is my desire to 
fully understand those relations. I understand you. 



THE LIVING CORPSE. S7 

I understand that this shadow, as you so well ex- 
pressed it, must have been — 

Fedya: It certainly was, and that's perhaps the 
reason why I could find no satisfaction in the sort 
of married life she was offering me. I was longing 
for something else, and so let myself be carried 
away. This, however, may seem as if I were trying 
to justify myself. I do not wish to justify myself, 
nor is it possible for me to do so. I was, I pur- 
posely say was, a bad husband, I was, because now 
I consider myself no longer her husband. I con- 
sider her perfectly free. So there you have an ans- 
wer to your commission. 

Prince Abrezkov: But you know Victor's fam- 
ily and himself. His relations to Elizaveta And- 
reevna always were and continue to be most respect- 
ful and formal. He helped her when she was in 
trouble. 

Fedya : Yes, I encouraged their intimacy by my 
loose life. What can be done? It had to be that 
way. 

Prince Abrezkov : You know his and his family's 
strict orthodox principles. I don't share them; I 
look upon those matters from a broader point of 
view. But I respect and understand them. I un- 
derstand that for him, and especially for his mother, 
any union with a woman, without the sanction of 
the church, is out of the question. 

Fedya: Yes, I know how stup — how straight- 
laced and conservative he is in this respect. But 
what do they want? A divorce? I told them long 
ago that I was willing to give it, but to have to take 
upon myself the whole guilt, and to face all the lies 
connected with it, is very hard. 

Prince Abrezkov: I fully understand you and 
agree with you. But what is to be done ? I think it 



58 THE LIVING CORPSE. 

could be arranged . However, you are right. It's 

terrible, and I sympathize with you. 

Fedya: (pressing his hands) Thanks, dear Prince. 
I always considered you a good, honest man. Now 
tell me, how am I to act? What shall I do? Just 
realize the position I am in. I don't try to grow bet- 
ter. I'm a good-for-nothing. But there are things 
which I cannot do calmly. I cannot tell a lie calmly. 

Prince Abrezkov : I don't understand you, after 
all. How can you, an able, sensible man, so sus- 
ceptible to everything that's good — how can you 
let yourself be carried away, how can you so forget 
what you owe to yourself ? How did you reach this 
stage, how did you ruin your life? 

Fedya: (restraining tears of emotion) I have 
been leading this loose life for the last ten years, 
and this is the first time that a man in your station 
has expressed any sympathy for me. I have had the 
sympathy of my comrades, of sports, of women, but 
of a sensible, good man like you — Thank you ! How 
did I fall so low? Blame it upon wine, first of all. 
It isn't for its taste that I like it, but whatever I 
do, I always feel that I am not doing what I should, 
and I feel ashamed of myself. Just now I am talk- 
ing to you, and I feel ashamed of myself. And 
when it comes to being a leader, holding a position 
in a bank — I'm so embarrassed, so ashamed of my- 
self — and it's only when you take a drink that you 
cease feeling ashamed of anything. And music — 
not operas and Beethoven, but gipsy music — it's in- 
spiring, it fills you with such energy! And don't 
forget those lovely black eyes and smiles. Yet the 
more entrancing it is, the more ashamed of oneself 
one feels afterwards. 

Prince Abrezkov: Well, and how about work? 
Fedya: I tried it. Nothing would do. I was 



THE LIVING CORPSE. 59 

dissatisfied with everything. However, why talk 
about myself ? Thank you. 

Prince Abrezkov: What shall I say, then? 

Fedya: Say that I will do what they want me to. 
They want to get married, don't they — they want 
nothing to prevent them from marrying? 

Prince Abrezkov: Of course. 

Fedya: I will do it, tell them; I will surely do 
it. 

Prince Abrezkov: When? 

Fedya: Wait a while. Well, in two weeks, let 
us say. Is that all right? 

Prince Abrezkov: (rising) So I may tell them 
that ? 

Fedya: You may. Good-bye, Prince; thank you 
again. 

(Prince Abrezkov goes out.) 



SCENE V. 

Fedya, alone. 

Fedya: (sits for a long time, smiling silently) 
Good, very good. That's just it; that's it, that's it! 
Excellent ! 



ACT IV 



TABLEAU I 

At an inn. A private room. The zvaiter ushers 
in Fedya and Ivan Petrovich Aleksandrov. 



SCENE I. 

Fedya, the waiter, and Ivan Petrovich {at the 
door.) 

Waiter: Right here, please. No one will dis- 
turb you here, and I shall bring you some paper 
right away. 

Ivan Petrovich : Protasov, I want to come in. 

Fedya: {seriously) Come in if you want to, but 
I'm busy and Come in. 

Ivan Petrovich : You are going to reply to their 
demands? I'll tell you how to do it. I wouldn't go 
about it that way. I always talk frankly and act 
determinately. 

Fedya: {to the waiter) A bottle of champagne. 
{waiter goes out.) 



SCENE II. 

Fedya and Ivan Petrovich. {Fedya takes out a 
revolver and puts it down.) 
Fedya : Wait a while. 



THE LIVING CORPSE. 61 

Ivan Petrovich: What? You want to shoot 
yourself ? Go ahead, go ahead ! I understand you. 
They want to humiliate you, and you'll show them 
who you are. You'll kill yourself with a revolver, 
and them with your magnanimity. I understand 
you. I understand everything, because I am a 
genius. 

Fedya: Of course, of course. Only — {waiter en- 
ters with paper and ink.) 



SCENE III. 

Fedya, Ivan Petrovich, and the waiter. 

Fedya: (covers the revolver with a napkin) Open 
the bottle. Let's drink. (They drink.) (Fedya 
zvrites) Wait a while. 

Ivan Petrovich : Here's to your — long journey ! 
I am above all that, you see. I will not attempt to 
stop you. A genius is equally indifferent to life and 
death. I am dead during life, and live after death. 
You will kill yourself, so that those two people 
should pity you. And I — I shall kill myself, so 
that the whole world should realize what it has lost. 
I shall not hesitate or reflect, either. I take it (grasps 
the revolver) a moment — and it's all over. But the 
time has not yet come for it. (Puts back the revol- 
ver) Nor need I leave any notes behind ; they ought 
to understand for themselves. Ah, you 

Fedya : Stop a moment ! 

Ivan Petrovich: How pitiful people are! They 
hurry and scurry, and yet don't understand, don't 
comprehend anything. I'm not talking to you. I 
am just expressing my thoughts. And what does 
humanity need ? Very little ; only to learn to ap- 
preciate its geniuses. But it has always executed, 



62 THE LIVING CORPSE. 

persecuted, and tortured them. No — I will not be 
your toy! I shall expose you! No-o-o-o. Hypo- 
crites ! 

Fedya: (has finished writing, reads while drink- 
ing) Go away, please. 

Ivan Petrovich : Go away? Well, good-bye. I 
will not attempt to stop you. I'll do the same. But 
it's yet too early. I only want to tell you 

Fedya : All right ; you'll tell me a little later, but 
now listen to this, my friend. Please give this to 
the landlord (handing him some money), and ask 
him for a letter and a package in my name. Please, 
do. 

Ivan Petrovich : Very well. So you'll wait for 
me? I have something important to tell you, some- 
thing that you will have no chance to hear, not only 
in this world, but not even in the next one, at least 
not until I get there. Am I to give him all this? 

Fedya: As much as I owe him. (Ivan Petrovich 
goes out.) 



SCENE IV. 

Fedya, alone. 

Fedya: (breathes a sigh of relief, closes the door 
after Ivan Petrovich, takes the revolver, raises it, 
puts it to his temple, shivers and lets it down care- 
fully. Roars.) 

Fedya: No, I cannot, cannot, cannot! (knock at 
the door) Who is it? (Masha's voice behind the 
door. I!) 

Fedya: Who is it? Ah, Masha! (opens the 
door.) 



THE LIVING CORPSE. 63 

SCENE V. 

Fedya and Masha. 

Masha : I was at your zoom, at Popov's, at Af- 
remov's, and finally decided that you must be here. 
(sees the revolver) That's nice! There's a fool for 
you ! A fool indeed ! Did you really mean to do 
it? 

Fedya : No, I could not. 

Masha: And what of me? You heartless man! 
You did not pity me? Ah, Fedor Vasilyevich, it's 
a sin, a sin ! For my love 

Fedya: I wished to set them free, I promised. 
And I cannot lie. 

Masha: And what of me? 

Fedya: I would have broken your fetters, too. 
Or do you prefer to suffer with me? 

Masha: Of course I do. I cannot live without 
you. 

Fedya: What sort of a life is this? You would 
have wept some and then you would have gone on 
living. 

Masha : Indeed, I would not have wept at all ! 
To the deuce with you, if you have no pity for me 
(weeps.) 

Fedya : Masha, my love, I wanted to improve 
matters. 

Masha: Yes, for yourself. 

Fedya: (smiling) How would I have been bet- 
ter off, if I had killed myself? 

Masha: Of course you would have been better 
off. But what do you need? Tell me. 

Fedya : What do you mean ? I need many things. 

Masha: Well, what, what? 

Fedya: I need, first of all, to keep my promise. 



64 THE LIVING CORPSE. 

That's the first thing, and that's enough. I cannot 
lie and do all those nasty things that are necessary 
for a divorce. 

Masha: I'll admit they are nasty. I myself — 

Fedya: Then I need to set them free, both my 
wife and him. Why not? They are nice people. 
Why should they suffer ? That's the next thing. 

Masha: Well, I cannot see much good in her, 
if she threw you over. 

Fedya: She didn't throw me over — I did it all. 

Masha: Very well, very well. It's all your 
fault. She's an angel. What's next? 

Fedya: The next thing is that you are a dear, 
good little girl, — I love you ; and if I remain alive I 
shall ruin you. 

Masha : You needn't trouble yourself about that, 
let me tell you. Leave it to me to decide what will 
ruin me. 

Fedya: (sighs) And the main thing, the main 
thing is ; What does my life amount to ? Don't I 
see that I am lost, a mere good-for-nothing? I am 
a burden to myself and to everybody else, as your 
father said. I'm a good-for-nothing! 

Masha : Just listen to that nonsense ! You can't 
shake me off ! I shall cling to you, that's all! As 
for your leading a bad life and drinking — Well, 
you're a man. Drop it! That's all! 

Fedya: That's easily said. 

Masha : Just do it. 

Fedya: There, when I look at you, it seems as 
if I could do anything. 

Masha : And you will do it. You will do every- 
thing, (notices the letter) What's that? You 
wrote to them ? What did you write ? 

Fedya: What did I write? (takes the letter and 
wants to tear it up) Now I don't need it any more. 



THE LIVING CORPSE. 6.", 

Masha: (snatches the letter out of his hand) Did 
you write you killed yourself? Yes? You didn't 
mention the revolver? Did you mention the word 
killed? 

Fedya : Yes, I said I would no longer exist. 

Masha: Let me have it, let me, let me! Have 
you ever read "What's To Be Done?" 

Fedya: I think I have. 

Masha : It's a tedious novel, but one thing about 
it is very, very good. He, what's his name? — 
Rachmanov — went to work and pretended to have 
been drowned. So you — you don't know how to 
swim, do you? 

Fedya : No. 

Masha : That's just it. Let me have your clothes ; 
everything, your wallet, too. 

Fedya : What do you mean ? 

Masha: Wait, wait, just wait! Let us go home. 
You'll change your clothes there. 

Fedya : But that's deceit ! 

Masha : Never mind ! You see, you went in 
bathing, your clothes were left on the shore. In 
the pocket will be found your wallet and this let- 
ter. 

Fedya: Well, and what then? 

Masha: Then? Then we'll go away from here 
and live happily forever after. 



SCENE VI. 

Fedya, Masha; Ivan Petrovich enters. 
Ivan Petrovich : What do you think of that ! 
Where's the revolver? I'll take it. 

Masha : Take it. Do. We're going away. 



66 THE LIVING CORPSE. 

TABLEAU II 

A drawing-room at Mme. Protasov's. 



SCENE I. 

Karenin, Lisa. 

Victor Karenin: He promised it so definitely 
that I'm sure he'll keep his word. 

Liza: I'm ashamed to admit it, but I must say- 
that after what I have found out about that gipsy- 
girl, I feel entirely free. Don't think it's jealousy. 
It's not that, it's rather a feeling of liberation that 
I have. How shall I make you understand it ? What 
was torturing me above everything else was that I 
felt I was loving two men at once. And that means 
that I am an immoral woman. 

Victor Karenin : You an immoral woman ? 

Liza: But the moment I found out that he had 
dealings with another woman, which means that he 
doesn't need me, I considered myself free, and felt 
that I could, without lying, tell you that I loved you. 
Now my soul is at ease, and I am troubled only by 
the condition I am in, by that divorce. All that is 
so trying, especially the anticipation of it. 

Victor Karenin : It will be over soon, very soon. 
In addition to Fedya's promise, I asked the secre- 
tary to go to him with the application and not to 
leave before he will have signed it. If I didn't know 
him as well as I do, I would have thought he was 
delaying on purpose. 

Liza: On purpose? No, it's always that same 
weakness and honesty of his. He will not say what 
isn't true. It was in vain you sent him the money. 

Victor Karenin : Why not ? It might have been 
a cause of delay. 



THE LIVING CORPSE. 67 

Liza: No, it doesn't seem quite right to have 
sent him money. 

Victor Karenin : Well, he can now afford to be 
a little less punctilious. 

Liza : What egoists we have become ! 

Victor Karenin : Yes, I admit it. But you have 
no one to blame but yourself. I am very happy now, 
after all that waiting, that hopelessness ; and hap- 
piness makes us selfish. It's all your fault. 

Liza : You think you are the only one who feels 
that way. I feel just the way you do. I am floating 
on the wings of happiness. Everything has come 
our way. Mika is getting better, your mother loves 
me, and you love me, and, what is most important, 
I love you ! 

Victor Karenin: You do? Without regrets? 
With no return? 

Liza: From that day on everything within me 
suddenly took a new turn. 

Victor Karenin : And it can never be different 
again ? 

Liza: Never. I only wish it should be as final 
with you as it is with me. 



SCENE II. 

Karenin, Lisa, the nurse with the baby. (The 
nurse enters with the baby. The boy goes to his 
mother, who takes him on her lap.) 

Victor Karenin : What unfortunate people we 
are! 

Liza: What makes you say that? (kisses the 
child.) 

Victor Karenin : When you were married and 
when, after your return from abroad, I found it out 



68 THE LIVING CORPSE. 

and felt that I had lost you, I was unhappy, and I 
was glad to learn that уоіг remembered me. That 
was enough for me. Then, when we resumed our 
friendly relations and I felt that you cared for me, 
that there was in our friendship a tiny spark of 
something more than mere friendship, I began to 
feel almost happy. I was only tortured by the fear 
that I was not honest towards Fedya. I was always 
so firmly convinced, however, of the impossibility of 
anything but the purest friendship in my relations 
to my friend's wife — and I knew you too — that it 
didn't trouble me very long, and I was satisfied. 
Then, when Fedya began to torment you and I felt 
that I was a comfort to you, and that you feared 
my friendship, I was altogether happy, and a cer- 
tain indefinite hope sprang up within me. Later on, 
when he became quite unbearable, you decided to 
leave him, and when I told you everything for the 
first time, and you didn't say no, but turned away 
from me in tears, my happiness was complete. If 
anyone would have asked me then what else I want- 
ed, I should have answered : "Nothing." Then we 
saw a chance of uniting our lives, mamma learned 
to love you, realization became possible; you told 
me you had always loved me and loved me now ; 
then you told me, as you did just now, that he did 
not exist for you, that you loved only me — what 
else could one ask, what else could I wish for? But 
no, at present I am tormented by the past. I wish 
that past had never been, that there was nothing to 
remind us of it. 

Liza: (reproachfully) Victor! 

Victor Karenin : Liza, forgive me. I say this 
because I don't want to have any thoughts concern- 
ing you hidden from you. All this I said on pur- 
pose to show you how mean I was, and since I know 



THE LIVING CORPSE. 69 

that I have reached the limit, I have to struggle with 
myself and conquer myself. And I have conquered. 
I love him. 

Liza : That's what you ought to do. I did all I 
could. I didn't really do it, but in my heart every- 
thing was transformed into just what you could 
have wished for; everything has disappeared from 
it, except you. 

Victor Karenin : Everything? 

Liza: Everything, everything! I would not say 
so if it were not true. 



SCENE III. 

Karenin, Lisa, nurse with the baby, and lackey. 

Lackey: Mr. Voznesensky. 

Victor Karenin : There he is, with a reply from 
Fedya. 

Liza: (to Karenin) Let him come in here. 

Victor Karenin : (rises and goes to the door) 
There he is with an answer. 

Liza: (gives the child to the nurse; nurse and 
child leave) Is it really all coming to an end, Vic- 
tor? 



SCENE IV. 

Karenin, Lisa and Voznesensky (enters.) 

Victor Karenin: Well? 

Voznesensky: He was not in. 

Victor Karenin: What do you mean? And 
he has not signed the application? 

Voznesensky : The application is not signed, but 
he left a letter addressed to you and Elizaveta An- 



70 THE LIVING CORPSE. 

dreevna. (takes a letter out of his pocket) I reach- 
ed the house; they told me he was at the inn. I 
went there. Then Fedor Vasilyevich told me to 
come back in an hour when I would find the answer 
ready. I came, and 

Victor Karenin : Another delay ? New excuses ? 
No, that's simply base ! How low he has fallen ! 

Liza : But read, see what the letter says ! 

Victor Karenin: (opens the letter.) 

Voznesensky: You don't need me? 

Victor Karenin: Yes, — no, good-bye. Thank 
you. (stops reading with a look of astonishment on 
his face. Voznesensky goes out.) 



SCENE V. 

Karenin and Liza. 

Liza : What is it, what ? 

Victor Karenin : It's terrible ! 

Liza: (seises the letter) Read! 

Victor Karenin : (reads) "Liza and Victor, I 
am addressing this to you both. I will not lie by 
calling you dear or beloved. I cannot overcome a 
certain feeling of bitterness and reproach — reproach 
towards myself, which is none the less tormenting — 
when I think of you, your love, your happiness. I 
know everything. I know that although I am the 
husband, circumstances have brought it about that 
I was really in your way. C'est moi, qui suis 
l'intrus. Just the same, I cannot refrain from a 
feeling of resentment and coolness towards you. 
Theoretically I love you both, especially Liza, my 
dear Liza, but in reality my feelings are more than 
cool. I know I'm in the wrong, but I cannot change 
myself. 



THE LIVING CORPSE. 71 

Liza: How could he 

Victor Karenin: {continues to read) "But to 
the point! This very feeling that is dividing me 
against myself forces me to carry out your wish in 
a manner different from the one you wished for. 
To lie, to play base comedy by bribing the officials, 
to face all that meanness is disgusting to me. As 
mean as I may be, my meanness is of a different 
kind, and I can take no part in this baseness, I 
simply cannot do it. Another solution which pre- 
sents itself to me is much simpler. You have to 
get married to be happy. I am in the way, there- 
fore I have to destroy myself. 

Liza: {grasps Karenin by the hand) Victor! 

Victor Karenin: (reads on) — have to destroy 
myself. And so I am destroying myself. When 
you receive this letter I shall be no more. 

P. S. I am very sorry you sent me that money 
for the trial. It was indelicate and not at all like 
you. But what's to be done? I was mistaken so 
many times, so you, too, may be mistaken once. 
The money will be returned to you. My solution 
is more brief, cheaper and surer. I beg one thing 
of you, don't be angry with me, and hold me in 
kind memory. One thing more. There's a watch- 
maker, Evgenyev ; can't you do something for him 
to put him on his feet? He is a weak but kind- 
hearted man. Good-bye. Fedya." 

Liza: He has killed himself! But 

Victor Karenin : (rings, runs into the hall) Call 
back Voznesensky! 

Liza : I knew it, I knew it ! Fedya, dear Fedya ! 

Victor Karenin: Liza! 

Liza: It's not true, no, it isn't true that I didn't 
love him ; that I don't love him now ! I love no 



72 THE LIVING CORPSE. 

one but him! I do! And I ruined him! Leave 
me! (Vosnesensky enters.) 



SCENE VI. 

Karenin, Lisa and Vosnesensky. 

Victor Karenin: Where is Feodor Vasilyevich? 
What did they tell you ? 

Voznesensky: They said he went out in the 
morning, left his letter and didn't return. 

Victor Karenin: That must be investigated. 
Liza, I leave you. 

Liza: Forgive me, but I too cannot lie. Leave 
me now. Go, find out — ■ — 



ACT V 



TABLEAU I 

A dirty room in an inn. Around the tables sit 
several people who are drinking tea and zvhisky. In 
the foreground is a small table at which Fedya is 
seated, wasted and tattered; with him is Petushkov, 
a gentle, attentive person, with long hair, of a cleri- 
cal aspect. Both are a little tipsy. 



SCENE I. 

Fedya and Petushkov. 

Petushkov: I understand, I understand. There's 
real love for you ! Well, and what happened ? 

Fedya: You see, if these feelings had manifested 
themselves in a girl of our circle, if one of them 
had sacrificed everything for the man she loved — 
but she was a gipsy, brought up on greed, and yet 
capable of such pure, self-sacrificing love. She 
gave up everything and asked nothing in return. An 
exceptional contrast that is especially remarkable. 

Petushkov: Yes, that is what we call tone- 
value in painting. One may use a bright red only 
when there is green all around. But that's not it. 
I understand, I do. 



74 THE LIVING CORPSE. 

Fedya: Yes, and I believe the one good act I 
have to my credit is not to have taken advantage of 
her love. And do you know why? 

Petushkov: Out of pity? 

Fedya : Oh, no. I did not have any pity for her. 
I always felt enraptured in her presence, and when 
she sang, oh, how she sang! She is probably sing- 
ing now, too. I always used to look up to her. I 
did not ruin her simply because I loved her, loved 
her truly. And now all that remains a wonderfully 
glorious memory with me. (drinks.) 

Petushkov: That's it. I understand, I do. It 
was ideal. 

Fedya: Let me tell you: I have had infatua- 
tions, and once I fell in love with a great lady, a 
beauty; I was in love with her in a mean, dog-like 
way ; she made an appointment with me and I didn't 
appear, because I thought it mean towards her hus- 
band ; and to this very day, strange as it may seem, 
whenever I think of it, I try to feel pleased and to 
praise myself for having acted honorably; but in- 
stead of that, I simply regret it, as one regrets his 
sins. But when it comes to Masha, I feel just the 
opposite way. I'm always glad, very glad, that I 
didn't in any way pollute that feeling of mine for 
her. I may fall still lower, I may perish altogether, 
I may sell all I have, become filthy and diseased, 
but this jewel, no, not jewel, but ray of sunshine, 
yes — will always be within me, always with me. 

Petushkov: I understand. I understand. But 
where is she now ? 

Fedya : I don't know, and I don't care. That all 
belongs to another life, and I don't want to mingle 
it with this one. 

(From the table in the rear a woman's screams 
are heard. The innkeeper and a policeman go over; 



THE LIVING CORPSE. 75 

several people are led aivay. Fedya and Petushkov 
look on, listening silently.) 

Petushkov: {after quiet has been restored) Yes, 
you have led a remarkable life. 

Fedya: No, it's a very simple one. In our cir- 
cle, the one in which I was bom, we have but three 
courses to choose from — and no more than three. 
One is to enter the service, to make money, to in- 
crease the nastiness in the midst of which we live. 
That disgusted me ; perhaps I didn't know how to 
do it, but the main thing was, — that it was disgust- 
ing to me. The second choice is to destroy that 
nastiness ; but for that one has to be a hero, and I'm 
not a hero. There remains the third choice ; to for- 
get oneself, — to drink, frolic, sing; which is what 
I did, and this is the state I have sung myself into. 
{drinks.) 

Petushkov: Well, what about your home life? 
I could be happy if I had a wife. My wife is the 
one who ruined me. 

Fedya: Home life? Yes. My wife was an ideal 
woman. She is still alive. But what shall I say? 
There was no spice to her. You know how neces- 
sary spice is to give taste to the pudding. You see, 
there was no sparkle to our life. I had to forget 
myself, but without sparkle you cannot do it. Then 
I began to be mean ; and you know, to be sure, that 
we love people for the good we do them, and we 
dislike them for the evil we do them. And I 
caused her evil. Yet she seemed to love me. 

Petushkov: Why do you say "seemed?" 

Fedya: I say that, because she never had the 
faculty of getting right into the depth of my soul, 
as Masha did. But that is what I wanted to tell 
you. She was with child, nursing, and I would 
disappear and come home drunk. Naturally, for 



76 THE LIVING CORPSE. 

that reason I loved her still less. Yes, yes (becomes 
enraptured), it just occurred to me; the reason I 
love Masha is because I treated her with kindness 
and not with harshness. That's why I love her. But 
the other one I tormented, and for that reason — it 
isn't exactly that I didn't love her — well, I simply 
didn't love her. I was jealous, it's true, but that 
too has passed away. 



SCENE II. 

Fedya, Petushkov, and Artemyev. 

Artemyev approaches; wears a uniform cap, his 
moustache is dyed, his ancient clothes are fixed up. 

Artemyev: Good appetite to you! (bows to Fed- 
ya) I see you have become acquainted with the 
artist. 

Fedya: (cooly) Yes, we're acquainted. 

Artemyev: (to Petushkov) Well, have you finish- 
ed the portrait? 

Petushkov : No, it didn't come out well. 

Artemyev: (sits down) I hope I'm not intrud- 
ing. (Fedya and Petushkov keep silent.) 

Petushkov: Feodor Vasilyevich was telling me 
about his life. 

Artemyev : Secrets ? Don't let me interrupt you ; 
go right on — I certainly don't need you. Pigs ! 

(Goes to the next table and orders beer. Through 
all that follows he listens to the conversation be- 
tween Fedya and Petushkov, leaning over towards 
them.) 

Fedya : I don't like that fellow. 

Petushkov: He took offense at us. 

Fedya: Well, that can't be helped. I can't en- 
dure him. He's the sort of man in whose presence 



THE LIVING CORPSE. 77 

I am without words. With you, you see, I feel at 
ease, at home. What was it I was talking- about ? 

Petushkov: You were saying you had been jeal- 
ous. Well, and how did you happen to part with 
your wife? 

Fedya: Ah! (becomes thoughtful) That is a re- 
markable story. My wife is married 

Petushkov: How's that? Did you divorce her? 

Fedya: No! (smiling) She was widowed. 

Petushkov : What do you mean ? 

Fedya: I mean what I say; she was widowed. 
You see, I don't exist. 

Petushkov: How can that be ? 

Fedya: I don't exist. I'm a corpse. Yes. 
(Artemyev leans over, listening intently) Well, to 
you I suppose I may tell it. It is a matter of the 
remote past, and you don't even know my real name. 
It was like this : When I had finished tormenting 
my wife, had squandered everything I could lay my 
hands on, and became unendurable, a protector of 
hers appeared on the scene. Don't think there was 
anything nasty or bad about it — no, he was a friend 
of mine, a good, a very good man, only the very op- 
posite of me in every respect, and since there's much 
more of the bad than of the good in me, he always 
was and is now a very good man ; honest, firm, tem- 
perate, in a word, thoroughly virtuous. He knew 
my wife from her very childhood, he had loved her, 
and when she married me, he resigned himself to 
his fate. But later, when I grew abusive, when I 
began to torment her, he began to call on us more 
often. I myself wished him to do it, and they fell 
in love with each other; I had, however, by that 
time lost all self-respect, and, of my own accord, 
deserted my wife. Besides, there was Masha. I 



78 THE LIVING CORPSE. 

myself suggested to them that they should get mar- 
ried. They didn't want to, but I became more and 
more unbearable, and the end of it all was 

Petushkov: The usual one. 

Fedya: No, I am sure that their relations have 
always been pure. He is a religious person, he 
would consider marriage without the sanction of 
the church a sin. Well, they began to demand a 
divorce and to urge me to consent to it. It meant 
that I should take the guilt upon myself, that I 
should do all the lying — and that I couldn't do. Will 
you believe me, I would have found it easier to 
commit suicide than to lie. And I was all ready to 
put an end to everything, but at the last moment a 
kind friend said to me, "Why should you do it?" 
And we arranged it all. I sent a farewell letter, 
and on the following day they found on the shore 
my clothes, pocketbook and letters. I can't swim, 
you see. 

Petushkov: But how about the body? Didn't 
they ever find it ? 

Fedya: They did; just imagine — a week later 
some sort of a body was found. My wife was call- 
ed to identify it. The body was in a state of decay ; 
she looked at it. "Is that he?" "Yes, it's he." 
And that ended it. I was buried, they were mar- 
ried, and are living here in prosperity. And I — 
well, here you see me ! I live and drink. I passed 
by their house yesterday. The windows were 
lighted up, someone's shadow was thrown on one 
of the window shades. Sometimes I feel rather 
sad, but at other times it doesn't trouble me. I feel 
sad when I haven't any money — (drinks.) 

Artemyev: (goes over) You must excuse me, 
but I heard your story. It's a very good story, and 
especially a useful one. You say you feel badly 



THE LIVING CORPSE. 79 

when you have no money. Nothing can be worse 
than that. But you, in your position, should always 
have money. You're a corpse; you say. Very 
well 

Fedya: Excuse me, but I didn't tell my story to 
you, and I don't want your advice. 

Artemyev : But I want to give it to you. You're 
a corpse; but suppose you should be resurrected, 
then what will they turn out to be, your wife and 
that gentleman, those two who are prospering? 
They will be bigamists, and in the best case will be 
asked to proceed to the less remote parts of Si- 
beria. Then, why should you be short of money? 

Fedya : I ask you to leave me alone. 

Artemyev : All you have to do is to write a let- 
ter. If you want me to, I will write it for you ; only 
give me their address, and you will thank me for 
it. 

Fedya : Go away ! Was I talking to you ? I 
didn't say anything to you. 

Artemyev: You certainly did. This man is a 
witness. The waiter also heard you say you were 
a corpse. 

Waiter: I don't know anything about it, if you 
please. 

Fedya: (to Artemyev) Scoundrel! 

Artemyev: You call me a scoundrel? Police! 
Police ! We'll have this recorded. (Fedya rises to 
go out. Artemyev holds him back. A policeman 
appears.) 



TABLEAU II 



The action takes place in the country, on a piazza 
overgrown with ivy. 



80 THE LIVING CORPSE. 

SCENE I. 

Anna Dmitrievna Karenina, Lisa (pregnant), the 
nurse with the boy. 

Liza : By this time he is already leaving the sta- 
tion. 

Boy: Who's coming? 

Liza : Papa. 

Boy : Papa is leaving the station ! 

Liza: C'est etonnant comme il l'aime, tout-a- 
fait comme son pere. 

Anna Dmitrievna: Tant mieux. Se souvient- 
il de son pere veritable? 

Liza: (sighing) I don't ever speak of him to the 
child. I always think, why should I confuse him? 
Then again I think that I ought to tell him. What 
do you think, mamma ? 

Anna Dmitrievna: I think, Liza, that it de- 
pends just on how one feels about it, and if you 
will leave it to your feelings, your heart will tell 
you what you should say and when to say it. What 
a wonderful conciliator death is ! I admit that there 
was once a time when Fedya — I knew him when he 
was a child, you know — was unwelcome to me, but 
now I only remember him as a lovely youth, a friend 
of Victor's, as that passionate person who, even 
though it was unlawful and irreligious, sacrificed 
himself for those he loved. On aura beau dire,, 
Taction est belle — I hope Victor will not forget to 
bring home some yarn, I'm almost all out of it. 
(continues knitting.) 

Liza: I hear him coming. 

(The sound of wheels and bells is heard. Lisa 
rises and goes to the end of the piasza.) 



THE LIVING CORPSE. 81 

Liza: There's some one with him; a lady with 
a hat on. It's mamma ! I haven't seen her for an 



SCENE II. 

Lisa, Anna Dmitrievna, the nurse with the child. 
Karenin and Anna Pavlovna. 

Anna Pavlovna: {embraces Liza and Anna 
Dmitrievna) Victor met me and carried me off 
with him. 

Anna Dmitrievna : He certainly did well. 

Anna Pavlovna: Yes, of course. I thought 
to myself : when will I get a chance to see them ? 
I always keep postponing my visit. So here I am 
to stay — if you will not drive me out — till the even- 
ing train. 

Victor Karenin : {embraces his wife, his mother, 
and the child) If you only knew how happy I am ! 
You may congratulate me. I have two days' leave. 
To-morrow they will get along without me. 

Liza : Splendid ! Two whole days ! You haven't 
had that much for a long time. We'll take a ride 
down to the hermitage. Yes ? 

Anna Pavlovna: What a resemblance! What 
a fine youngster! I only hope he will not inherit 
everything. His father's heart 

Anna Dmitrievna: But not his weaknesses. 

Liza: Everything, everything! Victor agrees 
with me that if only he had been properly guided in 
his youth 

Anna Pavlovna : Well, I don't understand any- 
thing of that. I simply can't think of him without 
tears. 



82 THE LIVING CORPSE. 

Liza : So it is with us. How his image has grown 
in our memory ! 

Anna Pavlovna: Yes, I should say so. 

Liza: How hopeless it all seemed at one time. 
And how everything was solved all at once. 

Anna Dmitrievna: Well, Victor, did you bring 
me some yarn ? 

Victor Karenin : I did, I did. {goes to his bag 
and takes out several packages) Here's your yarn, 
here is the cologne water, here are some letters, and 
here is an official envelope addressed to you. (hand- 
ing it to his wife) Well, Anna Pavlovna, if you 
want to use the wash-room, I'll show you the way. 
I have to fix up a bit too, for dinner will be ready 
soon. Liza, I'll show Anna Pavlovna to the lower 
side-room, shall I not? 

Liza: (pale, holds the letter with shivering hands, 
and reads.) 

Victor Karenin : What is the matter with you, 
Liza, what is it? 

Liza: He's alive! My God! When will he at 
last set me free? Victor! What does it all mean? 
(sobbing.) 

Victor Karenin: (takes the paper and reads) 
This is terrible ! 

Anna Dmitrievna: What is it? Speak! 

Victor Karenin : This is terrible. He is alive, 
she is a bigamist, and I am a criminal. This is a 
paper from the prosecuting attorney who demands 
Liza's presence in court. 

Anna Dmitrievna: What a wicked man! Why 
did he do it? 

Victor Karenin : It was all a lie, a lie ! 

Liza: Oh, how I hate him! I don't know what 

I'm saying (leaves in tears. Karenin follows 

her.) 



THE LIVING CORPSE. 



SCENE III. 



Anna Dmitrievna and Anna Pavlovna. 

Anna Pavlovna : How did he manage to remain 
alive ? 

Anna Dmitrievna: I only know that the mo- 
ment Victor came in contact with that world of 
filth, I said it would drag him down. And now it has 
happened. It's all deception, all lies ! 



ACT VI. 



TABLEAU I 



Office of the Prosecuting Attorney, who is sitting 
behind the table, conversing with Meljnikov. Near 
them the clerk is sorting papers. 



SCENE I. 

Prosecuting Attorney, Meljnikov, and the clerk. 

Prosecuting Attorney: I never told her that. 
She made it all up, and now she blames me for it. 

Meljnikov: She doesn't blame anyone, but she 
is grieving over it. 

Prosecuting Attorney: Very well, then, I'll 
come for dinner. And now we come to a very in- 
teresting case. Show them in. 

Clerk: Both of them? 

Prosecuting Attorney: (stops smoking and 
hides his cigarette) No, only Madame Karenin or, 
to be more accurate, Madame Protasov, by her 
first husband's name. 

Meljnikov: (leaving) Oh, it's that Madame 
Karenin. 

Prosecuting Attorney: Yes. A nasty case. 
To be sure, I'm only beginning the investigation, 
but it looks bad. Well, good-bye. (Meljnikov goes 
out.) 



THE LIVING CORPSE. 85 

SCENE II. 

Prosecuting Attorney, clerk, and Lisa. (Enters 
heavily veiled, all in black.) 

Prosecuting Attorney: Be seated, please. 
(showing her to a chair) Believe me, I very much 
regret the necessity of questioning you, but the 
conditions necessitate it — Please compose yourself, 
and know that you may refuse to answer certain of 
the questions, if you so desire. Only my opinion 
is that it's best for you, and for all concerned, to 
tell the truth. That's always better and more prac- 
tical. 

Liza : I have nothing to conceal. 

Prosecuting Attorney: (looking at the paper) 
Your name, station, and religion — that's all down 
here, isn't it? 

Liza: Yes. 

Prosecuting Attorney: You are accused of 
having married another man, knowing that your 
husband was alive. 

Liza : I didn't know it. 

Prosecuting Attorney: Also, of having per- 
suaded your husband, by bribing him, to practice 
deception, to pretend to have committed suicide, 
with a view towards getting rid of him. 

Liza : All that is not true. 

Prosecuting Attorney : Then permit me to ask 
you a few questions. Did you send him money, 
twelve hundred roubles, in July of last year? 

Liza: That money belonged to him. I procured 
it by selling his belongings. And during the period 
following our separation, when I was waiting for a 
divorce, I sent it to him. 



86 THE LIVING CORPSE. 

Prosecuting Attorney : Very well. That money 
was sent on the 17th of July, two days before his 
disappearance ? 

Liza: I think it was on the 17th of July; I don't 
remember. 

Prosecuting Attorney: And when the police 
asked you to inspect the dead body, how was it that 
you identified it as your husband's? 

Liza: I was so excited at the time being that I 
didn't look at the body, and I was so sure that it 
was his, that when they asked me I answered: 1 
think it's his. 

Prosecuting Attorney: I see, you didn't ex- 
amine it closely on account of your excitement, 
which we can well imagine. Very well. And now, 
permit me to ask you, why was money sent every 
month to Saratov, to the very city where your first 
husband was living? 

Liza : That money was sent by my husband, and 
I cannot tell you anything about its destination, 
since I knew nothing about it. Only it was not sent 
to Feodor Vasilyevich. We were perfectly sure 
that he no longer existed. That I can tell you defi- 
nitely. 

Prosecuting Attorney: Very well. Let me 
point out one thing to you: Madame — we are the 
servants of the Law, but that doesn't prevent us 
from being human. Believe me, therefore, that I 
fully understand your position and sympathize with 
you. You were tied down to a man who spent your 
fortune, betrayed you, in a word, caused unhap- 
piness to 

Liza: I loved him. 

Prosecuting Attorney: Yes, but nevertheless, 
you had the natural desire to be free from him, and 
you chose this simple means, not realizing that it 



THE LIVING CORPSE. 87 

would lead to what is considered a crime — bigamy — 
I can understand that. And the judges too will un- 
derstand it. Therefore, I should advise you to make 
a clean breast of it. 

Liza: But I have nothing to confess. I never 
lied, (weeps) Do you need me any longer? 

Prosecuting Attorney: I should like to have 
you stay another while. I shall not trouble you 
any more with questions. Only read this, please, 
and sign it. Here's the cross-examination. Are 
your answers put down correctly? Right here, 
please, (points to a chair at the window) (to the 
clerk) Call Mr. Karenin. 



SCENE III. 

The prosecuting attorney, the clerk, Liza. Kare- 
nin enters, (seriously, solemnly.) 

Prosecuting Attorney: Be seated, please. 

Victor Karenin: Thank you. (remains stand- 
ing) What do you want ? 

Prosecuting Attorney: I am obliged to cross- 
examine you. 

Victor Karenin: In what capacity? 

Prosecuting Attorney : (smiling) In my capa- 
city of prosecuting attorney; and you are to be 
cross-examined in the capacity of defendant. 

Victor Karenin : How is that? With regard to 
what ? 

Prosecuting Attorney : With regard to having 
married a married woman. Permit me, however, 
to put the questions in the usual order. Be seated. 

Victor Karenin : Thank you. 

Prosecuting Attorney: Your name? 

Victor Karenin : Victor Karenin. 



88 THE LIVING CORPSE. 

Prosecuting Attorney: Station? 

Victor Karenin: Cavalier, councillor of state. 

Prosecuting Attorney : Age ? 

Victor Karenin : Thirty-eight years old. 

Prosecuting Attorney: Faith? 

Victor Karenin : Greek-Orthodox. Never was 
tried or convicted before. Well? 

Prosecuting Attorney: Did you know that 
Feodor Vasilyevich Protasov was alive when you 
married his wife? 

Victor Karenin : I did not know it. We were 
both convinced that he was drowned. 

Prosecuting Attorney: To whom, then, were 
you sending money each month to Saratov, after 
the false reports of Protasov's death? 

Victor Karenin : I refuse to answer this ques- 
tion. 

Prosecuting Attorney : Very well. What was 
your purpose in sending money, twelve hundred 
roubles, to Mr. Protasov, just before his alleged 
death, July 17? 

Victor Karenin : That money was given to me 
by my wife. 

Prosecuting Attorney: By Mme. Protasov? 

Victor Karenin : — by my wife, to be sent to 
her husband. That money she considered his prop- 
erty and having broken off her connections with 
him, she considered it unfair to keep it. 

Prosecuting Attorney: One more question, 
please. Why did you abandon your action for di- 
vorce ? 

Victor Karenin : Because Feodor Vasilyevich 
took the matter upon himself and informed me of 
it in a letter. 

Prosecuting Attorney: Have you that letter? 

Victor Karenin : The letter is lost. 



THE LIVING CORPSE. 89 

Prosecuting Attorney: How strange that 
everything that might tend to convince the court of 
the validity of your testimony is either lost or ab- 
sent. 

Victor Karenin: Anything else you need? 

Prosecuting Attorney: I don't need anything 
except to fulfil my duty, but you need to clear your- 
self, and I just advised Mme. Protasov and should 
advise you to do the same : not to hide what is self- 
evident and to tell everything, just as it happened, 
all the more so since Mr. Protasov is in such a 
state that he has already disclosed everything, and 
will, probably, testify to the same things before the 
court. I should advise 

Victor Karenin : I should like to ask you to 
confine yourself to the limits of your duties and re- 
frain from giving us advice. May we go? (ap- 
proaches Liza. She rises and takes him by the 
hand.) 

Prosecuting Attorney: I am very sorry to 
have to detain you. (Karenin turns around in sur- 
prise) Oh, no, I don't mean that you are under ar- 
rest. Although it would have been better for the 
establishment of the truth, I shall not take recourse 
to that measure. I should only like to cross-examine 
Protasov in your presence and bring you face to 
face with him when you will have a better chance 
to contradict him. Please be seated, (to the clerk) 
Call Mr. Protasov. 



SCENE IV. 

The prosecuting attorney, the clerk, Lisa, Kare- 
nin. Fedya enters, dirty and ragged. 

Fedya: (turning to Lisa and Karenin) Liza, 
Elizaveta Andreevna, Victor — It's not my fault. I 



90 THE LIVING CORPSE. 

meant to do better. And if it is my fault — forgive 
me, forgive me. (bows very low before them.) 

Prosecuting Attorney: Please answer my 
questions. 

Fedya: Go ahead. 

Prosecuting Attorney: Your name? 

Fedya: You know it. 

Prosecuting Attorney: You'll please answer. 

Fedya: Well, Feodor Protasov. 

Prosecuting Attorney: Your vocation, age, 
faith? 

Fedya: (silent for a while) Aren't you ashamed 
to ask these foolish questions ? Ask what needs to 
be asked, and not such silly questions. 

Prosecuting Attorney: I'll have to ask you 
to be more careful of what you say and to answer 
my questions. 

Fedya: Well, if you're not ashamed of it, then 
here you are : I am a bachelor of laws, forty years 
old, of the Greek-Orthodox faith; well, what else? 

Prosecuting Attorney: Was it known to Mr. 
Karenin and your wife that you were alive when 
you left your clothes on the bank of the river and 
disappeared ? 

Fedya : Certainly not. I really did want to kill 
myself, but then — well, never mind, that doesn't be- 
long here. The point is that they knew nothing 
whatsoever about it. 

Prosecuing Attorney : How is it that you testi- 
fied differently before the police-officer? 

Fedya: What police-officer? Ah, you mean 
when he came to me at the Rjanov House? I was 
drunk then and lied to him — I don't even remember 
what I said. But all that is nonsense. Now I'm 
not drunk and will tell the whole truth. They knew 
nothing. They believed I did not exist. And I 



THE LIVING CORPSE. 91 

was glad of it. And it would have remained that 
way, it not for that rascal Artemyev. If anyone is 
guilty it's no one but /. 

Prosecuting Attorney : I understand your de- 
sire to be magnanimous, but the law demands the 
truth. Why was the money sent to you ? 

Fedya: (silent.) 

Prosecuting Attorney : Did you receive through 
Simonev the money that used to be sent to you to 
Saratov ? 

Fedya: (silent.) 

Prosecuting Attorney: Why don't you ans- 
wer ? It will go down on record that the defendant 
refused to answer these questions, which may do 
very much harm to you as well as to them. Well 
then? 

Fedya: (silent; after a while) Ah, sir, aren't 
you ashamed of yourself ? Why are you intruding 
into other people's lives? You are glad you are in 
power, and in order to show it, you torture, men- 
tally, if not physically, people who are a thousand 
times better than you are. 

Prosecuting Attorney : I ask you 

Fedya: You needn't take the trouble. I shall 
say all I have on my mind, (to the clerk) And you 
may take it down. At least there will for once be sen- 
sible human statements in your records, (raising his 
voice) Three people are living: I, he, and she. The 
relations between us are complicated — it's a strug- 
gle between good and evil, a spiritual struggle of 
which you have no conception. That struggle ends 
in a certain situation that solves everything. All 
are content. They are happy. They cherish my 
memory. I am happy in my downfall, at the 
thought of having done what was my duty — that I, 
a good-for-nothing, passed out of this life so as not 



92 THE LIVING CORPSE. 

to be in the way of those who are full of life and 
of goodness. And we are all living. Suddenly a 
scoundrel appears, a blackmailer, who demands that 
I should take a hand in a blackmailing scheme. I 
drive him away. He goes to you, the champions of 
justice, the guardians of morality. And you, re- 
ceiving a few kopecks on the twentieth of each 
month for your nasty job, don your uniform, and 
with an easy conscience abuse these people, whose 
little finger is worth more than you are, who would 
not even let you step into their hall-way. But you 
have reached your aim and are glad 

Prosecuting Attorney : I shall have you led out 
of the room. 

Fedya: I am not afraid of anyone, for I'm a 
corpse, and you can do nothing with me: there is 
no position worse than my present one. Go ahead 
and tell them to lead me out. 

Victor Karenin : May we go? 

Prosecuting Attorney: In a moment, after 
you will have signed the record. 

Fedya: How ridiculous you would be, if you 
were not so nasty ! 

Prosecuting Attorney: Lead him away. You 
are under arrest. 

Fedya: (to Karenin and Liza) I beg your forgive- 
ness. 

Victor Karenin: (goes over and shakes hands 
with him) It evidently had to come to pass ! 
(Lisa passes by. Fedya bows low.) 



THE LIVING CORPSE. 93 

TABLEAU II. 

A corridor of the district court-house. In the 
background is a glass door at which the sergeant-at- 
arms is stationed. Nearer to the right is another 
door through which the accused are led in. Ivan 
Petrovich Aleksandrov, in tatters, goes over to the 
first door and tries to pass through. 



SCENE I 



Sergeant-at-artns and Ivan Petrovich. 

Sergeant: Where are you going? No admit- 
tance here. Did you ever ! 

Ivan Petrovich: Why not? The law says: 
the sessions are open to the public, (applause with- 
in.) 

Sergeant: No admittance here, that's all. I 
have strict orders. 

Ivan Petrovich : Boor ! You don't know whom 
you are talking to. (a young lawyer in a dress-suit 
comes out.) 



SCENE II. 

Sergeant-at-arms, Ivan Petrovich and the young 
lawyer. 

Young Lawyer: What is it? Are you here on 
business ? 

Ivan Petrovich : No, but I am the public. And 
this boor, this Cerberus, doesn't want to let me 
in. 

Young Lawyer: But this is not the place for 
the public. 



94 THE LIVING CORPSE. 

Ivan Petrovich : I know it, but I am different 
from anybody else. 

Young Lawyer: Wait; the intermission comes 
soon, (tarns to go; meets Prince Abrezkov.) 



SCENE III. 

The sergeant-at-arms, Ivan Petrovich, the young 
lawyer and Prince Abrezkov. 

Prince Abrezkov: Permit me to inquire, how 
is the trial progressing? 

Young Lawyer: The lawyers are pleading — 
Petrushin is talking, (more applause from within.) 

Prince Abrezkov : How are the defendants bear- 



ing up 



Young Lawyer : They display considerable self- 
control, especially Karenin and Elizaveta Andreev- 
na. They make you feel that it is not they who 
are being judged, but that they are the ones who are 
judging society. That is the point that Petrushin 
is emphasizing. 

Prince Abrezkov: Well, and how is Prota- 
sov? 

Young Lawyer: Very much excited. He is 
trembling all over; but that was to be expected, 
after his manner of living. He is easily irritated; 
several times he interrupted the district attorney, as 
well as the lawyers. He's in a sorry state of ex- 
haustion. 

Prince Abrezkov: What decision do you ex- 
pect? 

Young Lawyer: It's hard to foresee. At any 
rate, they cannot prove premeditated action, but 



THE LIVING CORPSE. 95 

just the same (a gentleman comes out. Prince 

Abrezkov moves towards the door) Do you want to 
go in? 

Prince Abrezkov: Yes, I should like to. 

Young Lawyer: (to the Sergeant-at-arms) Ad- 
mit this gentleman. There's a vacant seat right 
there on the left (the Sergeant-at-arms admits 
Prince Abrezkov. As the door is opened, the lawyer 
can be seen pleading.) 



SCENE IV. 

The Sergeant-at-arms, the young lawyer and Ivan 
Petrovich. 

Ivan Petrovich : Those aristrocats ! I'm an 
aristocrat of the mind, which is more important. 

Young Lawyer: You'll excuse me. (leaving.) 



SCENE V. 

The Sergant-at-arms, Ivan Petrovich and Petush- 
kov. (Petushkov comes hurrying in.) 

Petushkov: Ah, how do you do, Ivan Petro- 
vich ? How's the trial getting along ? 

Ivan Petrovich : The lawyers are still talking. 
And they don't admit anyone, as you see. 

Sergeant : Stop your noise, there ! This is not a 
bar-room ! 

(More applause; the door opens. The lawyers 
and the spectators, both men and women, pass out.) 



96 THE LIVING CORPSE. 

SCENE VI. 

The same; a lady and an officer. 

Lady: Splendid! He actually made me cry. 

Officer: It's better than any novel. Only it is 
inconceivable how she could have loved him so 
much. He's a terrible specimen. 



SCENE VII. 

The same. Another door opens. The defendants 
pass out and pass along the corridor; first Lisa and 
Karenin, and behind them Fedya, alone. 

Lady : Hush ! Here he is ! Just see how ex- 
cited he is! {The lady and the officer pass along.) 

Fedya: {going over to Ivan Petrovich.) Did you 
bring it? 

Ivan Petrovich : Here it is. {handing him some- 
thing.) 

Fedya : {hides it in his pocket and is about to go; 
notices Petushkov) It's stupid, silly ! And tedious. 
Nonsensical, {is about to go.) 



SCENE VIII. 

The same; Petrushin, the principal lawyer, stout, 
red-faced, lively, approaches. 

Petrushin: Well, my friend, we have a good 
chance, only don't spoil it all in your final plea. 

Fedya: I won't say a word. What shall I tell 
them? I won't do it. 



THE LIVING CORPSE. 97 

Petrushin : No, you must ! Don't let yourself 
get excited. Now, we have as good as won the 
case. You have only to tell them what you told 
me, that if you are on trial, it's only for not having 
committed suicide, — that is, for not having done 
what is considered a sin by the church and a crime 
by the law. 

Fedya: I won't say a single word. 

Petrushin : Why not ? 

Fedya : I simply don't want to, and I'm not going 
to. Just tell me this : what is the worst than can 
happen ? 

Petrushin : I have told you already : in the worst 
case it may mean exile to Siberia. 

Fedya : Who do you mean will be exiled ? 

Petrushin : Why, both you and your wife. 

Fedya : And in the best case ? 

Petrushin: Religious penance, and, of course, 
annihilation of the second marriage. 

Fedya: That means that they will again tie us 
together. 

Petrushin: Why, yes, as a matter of course. 
But don't let that excite you. And please do just 
as I tell you, and, above all, don't say anything un- 
necessary. However — (noticing that people have 
gathered about them and are listening) I am tired, 
I will take a bit of rest. The main thing is — cour- 
age. 

Fedya : And there can be no other solution ? 

Petrushin: (going away) None whatever. 



SCENE IX. 
The same, without Petrushin; a court attendant 
enters. 



98 THE LIVING CORPSE. 

Attendant: Move along! Move along! Don't 
stand in the corridor! 

Fedya: Just a minute, (takes the pistol out of 
his pocket and shoots himself straight in the heart. 
He falls. All rush towards him.) Never mind. I 
think it's all right. Liza ! 



SCENE X. 

From all sides spectators rush in, also judges, de- 
fendants and witnesses. First of all comes Liza. 
Behind her are Masha, Karenin, Ivan Petrovich and 
Prince Abrezkov. 

Liza: What have you done! Fedya! Why ! 

Fedya : Forgive me for not having been able — to 
liberate you otherwise — It's not for your sake — it's 
much better for me. I've been ready for it — for a 
long time. 

Liza: You will live. (The doctor bends over 
him, listening.) 

Fedya: I know without the doctor Victor, 

good-bye. And Masha — came too late — (weeping) 
How well I feel, how well — (expires.) 

(Curtain.) 



FROM THE UST 

OP 

NICHOLAS L. BROWN 



Recent Publications 

of NICHOLAS L. BROWN 

80 Lexington Ave., New York. 

Leonidas Andreiyeff. A Dilemma. 75c. 
Hermann Bahr. The Master. A play. $1.00. 
Mitchell S. Buck. Ephemera. Greek Prose Poems. $2.25. 
— Book Repair and Restoration. A Manual of Prac- 
tical Suggestions for Bibliophiles. $2.00. 
— The Songs of Phryne. 60c. 
Donald Evans. Two Deaths in the Bronx. $1.00. 
— Discords. $1.00. 

— Nine Poems from a Valetudinarium. $1.00. 
— Sonnets from the Patagonian. Edition Limited to 750 
copies. $1.50. 

Ernest Lacy. Plays and Sonnets. 2 volumes. Volume 
I: The Bard of Mary Redcliife, a play in 5 acts. Vol- 
ume II: Rinaldo, the Doctor of Florence, a play in 5 acts. 
Chatterton, a one-act play. Sonnets. Each $1.75. 
Also: Memorial Edition of Plays and Sonnets, in one 
volume. $2.00. 

Ante Norrevang. The Woman and the Fiddler. A play. 
Translated by Mrs. Herman Sandby. 75c. 
Rear-Admiral Geo. Henry Preble. History of the Flag 
of U. S. A., etc., with illustrations, maps and color-plates. 
2 volumes. $7.50. 

August Strindberg. The Creditor. A play. 75c. 
— Swanwhite. A Fairy Drama. 75c. 

— Froken Julie. {Countess Julia.) A naturalistic tragedy. 
75C. 

Arthur K. Stem. Fairy Quackenbose. A fairy tale with 
modern improvements. Illustrated by Iredell. 75c. 
Pitts Sanborn. Vie de Bordeaux. A volume of poems 
in English. $1.00. 

John Addington Symonds. The New Spirit. Arthur Hugh 
Clough. Two Essays. $1.50. 



Leo N. Tolstoi. The Living Corpse (Zhivoi Trup). A 
drama in 6 acts and 12 tableaux. $1.00. 

Frank Wedekind. The Awakening of Spring. A tragedy 
of childhood dealing with the sex question in its relation- 
ship to the education of children. Sixth edition. $1.25. 
— Such Is Life. A play in 5 acts. $1.25. 
Emile Zola. For a Night; the Maid of the Dawber; 
Complements. 75c. 
Leonidas Andreiyeff. Silence. 35c. 
Vsevolod Gar shin. A Red Flower. 35c. 
August Strindberg. Motherlove. A one-act play. 35c. 
Frank Wedekind. Rabbi Ezra and the Victim. 35c. 
— Grisley Suitor. 35c. 

Complete List on Application. 

If Your Bookseller Cannot Supply the Volume Desired 
Write to Publisher at the Above Address. 



Deacidified using the Bookkeeper proces 
Neutralizing agent: Magnesium Oxide 
Treatment Date: Jan. 2007 

PreservationTechnoiogre; 

A WORLD LEADER IN PAPER PRESERVATIO 

111 Thomson Park Drive 
Cranberry Township, PA 16066 
(724) 779-2111 



щ 



10 



